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Fashion The Definitive History of Costume and Style 2012

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Published by IKBN Peretak, 2021-04-19 03:21:57

Fashion The Definitive History of Costume and Style 2012

Fashion The Definitive History of Costume and Style 2012

Pinned veil THE EARLY MIDDLE AGES 049

Long, straight Fillet (metal
sleeves headband) holds
second veil

Circular
mantle
Borders embroidered
with gold

Slim fit Feet could Blue silk tunic
re ects frugal be bare in fine folds

fabric use French dancer This dancer’s lively Longer white
movement contrasts with formal poses. linen tunic under
Mustaches Her pinned, extremely long veil is top tunic
with no beard coming loose and the tunic is cut with a
minimum of material. The 11th-century Luxury dress An 11th-
a Norman painted colors are inaccurate but show century French manuscript
fashion people’s love of bright dyes. honors St. Radegund by
clothing her in an imported
Classically
inspired clothing Byzantine mantle of the
most expensive purple
Tight sleeves silk. Her two tunics
are clearly defined.

Leather MARKERS OF LUXURY
sword belt
Jewelry shows the distinct
Tunic with medieval styles. Gold and enamel
divided skirt, jewelry had symmetrical Celtic
like culottes patterns or the stylized animals
favored by Anglo-Saxons. Other
Braccas (pants) markers of a settled, richer society
or hosa (hose) were women’s fine embroidery,
on legs applied to hangings, copes
(capes), and clothing, imports
Norman warrior The embroidered wool such as silk, as well as furs,
stitches of the Bayeux Tapestry, made in the kermes (red dye), and fine wools.
1070s, show the natural vegetable dyes used
to color textiles. Cropped hair was a practical
choice beneath helmets.



MEDIEVAL ROMANCE AND TRADE 051

TRENDS

IN TUNICS

The Bayeux Tapestry (actually an embroidery) documenting
the Norman invasion of England in 1066 illustrates the
fashion of the time: the tunic, shaped like a "T" with
insertions for fullness. It was the basic clothing for Saxons
and Normans, but the trend for wearing short tunics was
relatively new—one of many continental fashions that King
Edward the Confessor introduced when he came to the
English throne in 1042 after exile at the Court of Normandy.

Most men wore two tunics: a linen undergarment covered
by an over-tunic. The under-tunic was sometimes longer,
so that the bottom of it peeped out below the hem of the
over-tunic. Pulled on over the head, tunics had a slit at the
front of the neck, bordered by a band or collar, often in
a contrasting color. A belt was worn, sitting at the waist or
low on the hips, and could be used to tuck up extra length.

Although tunics were ubiquitous, the quality of the cloth
reflected the wealth of the wearer. The aristocracy, often
shown in the tapestry as pointing and giving orders, wore
sumptuous silk tunics with gold embroidery imported from
the East. The bright colors showed off expensive dyes. Much
simpler, coarse-cloth tunics with close-fitting leggings were
worn by laborers. The colors available to the ordinary
people were shades of natural gray and brown,
and greens and blues from plants.

The English did Frenchify
themselves…and make
themselves ridiculous by their
fantastic fashions…

WILLIAM OF MALMESBURY, 1095–1143

◁ HISTORIC TUNICS
The Bayeux Tapestry, probably embroidered during the 1070s, provides a picture
of the clothes worn by both nobles and serfs in the 11th century. Here, tunic-clad
laborers build a fortified Norman base.

052 MEDIEVAL ROMANCE AND TRADE

1100 – 1200 Loose hanging
sleeves show
COURTLY LOVE wrinkled undersleeves
AND CRUSADES

Fashion became increasingly flamboyant in the 12th century— Fashionable knight The
a time of Crusaders, romances, and chivalry. Vivacious, sophisticated ankle-length tunics and long
fashions cultivated in the south spread north from Mediterranean sleeves adopted by knights and
shores. Clothing became more seductively fitted, showing the body’s the aristocracy around 1110
shape for the first time. Tales of courtly love celebrated this effect, attracted criticism from clergy for
conjuring visions of figure-hugging silk gowns revealing embroidered being effeminate and inconvenient
chemises beneath laced sides. Garments were still based mainly on for fighting. Long hair and beards
rectangular and triangular fabric cuts, but with lacing to crush straight were fashionable too.
shapes against the curved figure. Even ordinary women wore their tunics
more closely over waist, arms, and hips. Men’s clothing also lengthened
and tightened. Noble people of both sexes wore the bliaut or brial, a
tunic made of fine, expensive silk with trailing hems and long sleeves.
Accessories were long, pointed shoes, long hair, and elaborate cloaks
and mantles. Religious and secular clothing styles began to differ.

Round fillet Uncovered hair Slim,
holding fine veil for maiden girdled

SILK hips

Slit Sleeve
neckline around
neck

V-neckline

Wide, Close-
hanging fitting
sleeves hose cut
on the
bias

Silk lampas Contrasting Split
lining tunic
This fragment of silk lampas with a pattern
of lions and harpies shows the extraordinary Pleated or finely
skill of 12th-century weavers. Luxury silk gathered long
textiles were highly prized and expensive, skirt of bliaut
with alluring names like samite, Alexandria,
ciclaton, taffeta, and lampas recorded in Long lines When women finally Girl’s pendant sleeves
romance tales of the times. revealed their hair, they added false Extreme fashions in women’s
hair into their braids for dramatic dress, which included sleeve cuffs
Silks were either rich and stiff or valued length. French noblewomen wore so wide they trailed on the ground or
for their delicacy, transparency, and light bliauts of the finest Asian silks; had to be tied up, were fashionable
draping. Silks made ideal high-status gifts, fine pleating contributed to the from c.1150. Thinner fabrics clung
since they were light and unbreakable vertical illusion. to the body, outlining the shape.
during long-distance travel.

Long hair Semicircular Parti-colored tunic COURTLY LOVE AND CRUSADES 053
held back mantle with in two halves
red lacing Short,
Extra long Long curled hair
sleeves Bliaut with front split
full skirt Round
neckline

Wrinkling at Slim waist
the waist from widening
tight lacing from hips

Patterned
fabric

Expensive Long, Ankle Colored
red hose pointed shoes with hose
toes vamp stripe

Southern dress This Provençal viscount’s tunic, Split tunic This is what French Abbot Bernard of Elegant draping This musician has used his
c.1110, follows the body, but is not fashionably Clairvaux meant when he complained that split hip belt to hitch up his tunic and create flowing
skintight, though its tight sleeves had to be sewn clothing “revealed intimate parts.” A young lines. Sideways wrinkles show the closeness
shut at each wearing. Aquitanian fashion was 12th-century Frenchman’s shirt hangs over over the ribs. The wider sleeves of the outer
more sensuous than that of northern France. tight hose that look like naked legs. tunic do not interfere with his playing.

Raw wool Rectangular veil
on distaff over wimple

Long Tight sleeves V-neck
hair laced or sewn shows
linen shirt
Tunic
emphasizes Circular Pleated
womanly figure mantle chainse
with hole sleeves
for head
Tight Dress clings
sleeves to belly

Baby in Shorter outer
swaddling tunic with
bands
contrasting
Skirts made border Long
fuller with chainse
extra fabric (linen tunic)

Body-revealing dress This young Veronan Noble Englishwoman This image from around 1170 Veiled mature woman Nuns, widows, and older
girl’s tunic is skintight—probably through shows a women in the modest dress of married women, women left fashion behind and veiled their heads
lacing—and reveals all her feminine curves. spinning yarn with a distaff and spindle. The veil is still throughout the Middle Ages and Renaissance period.
The contrast with the full flaring skirt shows long and covers all her hair. The tunic may have buttons Wimples, which concealed the neck and chin, were
the new seductive fit appearing in clothing. at the front, and fits closely. pinned at the top of the head and covered with a veil.



MEDIEVAL ROMANCE AND TRADE 055

FASHION ICON

ELEANOR OF AQUITAINE

Eleanor of Aquitaine (c.1124–1204) is one of the In a palette of blues, grays, burgundies, and earth tones, △ INTERNATIONAL INFLUENCES
most important and well-known figures of the the silk was highly embellished and heavily embroidered In this effigy from Fontevraud Abbey, the
Middle Ages, due to her huge influence on the in costly metallic threads. The garments’ sumptuous flow queen's dress was originally covered with
cultural life of the time. Born into the ruling family of the outraged church fathers: Bernard of Clairvaux complained diagonal bars of gold, representing an
Duchy of Aquitaine, a large province that covered most of about the ladies at court who “drag after them trains of expensive Eastern silk. She wears the
southwest France, this cultured, sophisticated, and most precious material that makes a cloud of dust.” barbette and is reading a book—a literate
eligible heiress in Europe had an extraordinary zest for life. woman in illiterate times.
At 15 she married the future King Louis VII of France and Bliaut sleeves also drew attention; they were tight from
moved to Paris. Used to luxury and splendor, Eleanor shoulder to elbow, then flared out into enormous cuffs ◁ NOBLE COLORS
found the city bleak and gray. She immediately set about long enough to drag on the ground. Sleeves were knotted Wealthy noblewomen wear the bliaut
transforming Paris into a center of art and beauty. With to shorten them and to make them more manageable. with extravagant sleeves in this 12th-
her strong sense of style, she introduced new century stained-glass window in the Abbey
fashions, fabrics, and etiquette from the more Impact abroad of Saint-Denis, France. Courtly romances
sophisticated south. Nobles from Aquitaine describe how the gowns could be open at
had a reputation for being fashion A formidable woman, Eleanor accompanied the side to reveal delicate underwear.
conscious, and the new queen her husband in 1147 on the Second
shocked Louis’ courtiers with her Crusade (1145–1149), traveling to
jewels, kohl, and rouge. Chronicler Constantinople (modern Istanbul) and
Bernard of Clairvaux remarked that Jerusalem. She took chests of the
her gowns were “not so much finest clothing with her so she might
adorned as loaded down with gold, appear as a sophisticated Provençal
silver, and precious stones.” She was queen instead of a Frankish rustic.
said to be tall and extremely beautiful She cut a dashing figure. The Greek
and continued to enchant men across chronicler Niketas Choniates noted
the known world into her old age. Eleanor’s ride into Byzantium:
“...even women traveled in the ranks
Setting the trend of the crusaders, boldly sitting astride in
their saddles as men do…At the head of
Under her influence, women’s clothing became
increasingly elaborate. The bliaut, a long overgown, was these was one in particular, richly dressed,
a new trend. In Eleanor’s reign it grew tighter around the who because of the gold embroidery on the hem
bodice, fitting snugly down to the hips, and was worn of her dress, was nicknamed Chrysopous [Golden Foot].”
with a decorative belt or girdle. The bodice was split down Eleanor was granted an annulment of her marriage to
either side from underarm to hip and attached with ribbons, Louis in 1152 and went on to marry Henry of Anjou as a
which could be tied to tighten the fabric across the body. love match. In 1154 he became King of England. As in
Paris, Eleanor began to turn primitive England into an
The skirt was cut wide, falling in light folds and pleats illustrious court, introducing art, makeup, romance, and
down to the feet. This emphasized the conspicuous use of poetry under the influence of her glamorous personality.
rich fabrics. Silk from the Middle East was readily available Wherever she went, Eleanor challenged tradition,
throughout Europe and used extensively by the royal court. developing the style and sophistication, romance, and
chivalry for which the medieval period became famous.

TIME LINE 1137 Marries Louis and 1140s ▷ 1154 Becomes ◁ 1167 Popularizes long braided
becomes Queen of Popularizes the bliaut and Queen of England, hair. Returns to France, after being
France, bringing other long overgowns with and introduces new estranged from Henry II, and cultivates
sophistication trailing sleeves and hems style and standards of a court in Poitiers unmatched by any
to the Paris court living to the English in Europe for its cultural influence
1140s Patronizes the court—drinking wine
troubadour poets of her 1147 Takes part in the instead of beer, and 1173 Is imprisoned for
Second Crusade. Her bringing in costly silks 16 years after taking part
native court. In turn, cloaks are sumptuous and love poets in a revolt against Henry II
they praise her “lovely and heavily embroidered

eyes and noble
countenance”

1130 1140 1150 1160 1170 1180

◁ ELEANOR RIDES INTO CAPTIVITY A 12th–13th-century fresco shows Eleanor, cloaked upon a horse, bidding farewell to her sons as she is imprisoned by Henry II, after taking part in a revolt against him.

056 MEDIEVAL ROMANCE AND TRADE Milk jar

1000 – 1450 Rectangular linen
veil covering head
PRIESTS AND
THE PEOPLE Long hair
and linen veil
In the Middle Ages fashionable, luxurious dress was
only possible for the wealthy minority, including Large
nobility, merchants, and clergy. Ordinary people— decorative
peasants and freeholders, artisans and trade workers, or brooch
professionals—wore simpler versions that allowed them
to do their work. Their clothes were shorter or plainer, Belt from which
in coarser, often home-produced, fabrics. Garments such items can be
as aprons could double as tools, to carry items or as attached
protection. Laborers stripped to cool linen underclothes
for heavy field work. Learned and professional men Close-fitting Pleated
wore long robes that marked their education. Although but not leather
religious clothing kept to older tunic styles, the Church
used the best-quality fabrics with the finest embroidery tight tunic purse
and weaving to dress cardinals and bishops, as well
as to adorn altars. Red Leather
under-tunic shoes fit

foot’s
shape

DYEING CLOTH Tippet (long Linen coif Imitating fashion This 12th-century English dairywoman The
sleeve end) under Italian working woman sowing grain uses Luttrell Psalter manuscript of the
reveals fur lining skullcap her wide sleeves like a bag. Though simple 1330s shows peasants going
and ankle length, her tunic has the large, about their everyday tasks. This
pointed sleeves of noblewomen, with older woman wears a long wool
a brooch at the neck. tunic with close-fitting sleeves.

Scholarly attire Roman author Pliny the Hood
Elder is imagined in the 1480s in the with tail
Italian clothing worn by medieval
scholars. Academic dress today Beard of older man
still derives from 15th-century
robes, with open sleeves,
pleated backs, and soft caps.

Liripipe (tail) on
youth’s hood

Long hanging
split sleeves

Doublet with open
seams underneath

Ordinary people did wear colored clothes in Tight hose
the Middle Ages, but linen was hard to dye covering
and was used in its natural pale gray the legs
or bleached white. Dark sheep gave dark
wool, while paler fleeces could be dyed. Pointed Ankle-
Common plant dyes made browns, yellows shoes with length robe
(weld, goldenrod), and blues (woad, indigo). ankle strap
Dyestuffs were fixed with mordants,
minerals that “bit” color into cloth. Reds and Italian doctor A professional man such as this
purples were difficult and costly to produce, doctor from c.1345 wore long garments, and
left to professionals like the 15th-century a skullcap and coif to mark his position. This
dyers above. contrasts with his patient’s shorter tunic. Both
wear fashionable hoods and tippet sleeves.

Hood with Braided Sienese country man An Italian 1380s PRIESTS AND THE PEOPLE 057
shoulder cape and straw hat fresco shows warm-weather country CHURCH TEXTILES
clothing—cool, loose linen braies (drawers)
short liripipe (tail) keeps over bare legs, a wool tunic open at the neck
off sun and tucked back to reveal a long linen shirt,
and a wide-brimmed straw hat.
Hat hanging
down back

Large Syon Cope
wool
coat Few pieces of medieval clothing are still in
existence. Of those that survive, most are
Buttoned exceptionally high-quality miters (bishop’s
up the front hats), chasubles (vestments), and copes
(semicircular capes) made for the Church.
French woodcutter This 13th-century
peasant is wrapped up against the cold in English church embroidery became
a large wool coat over a red tunic. Leather famous as opus anglicanum (English work).
shoes help to keep his feet warm and dry. It was the finest of its day and exported all
The painted colors are not true to life. over Europe. An exquisite example of this
is the Syon Cope, made between 1300 and
1320. Precious metal threads mix with silk
stitches to illustrate biblical stories, like
a wearable illumination.

Shaved tonsure

Expensive
textiles—silk

and gold

Bishop’s
crosier

Plain,
humble

dress

Chasuble

Frayed hem on Robes from
edge of tunic classical
tradition
Cassock

Pilgrim’s sclavein Sturdy Alb
(coarse tunic) leather Pallium
boots reaches
to hem
Leather
ankle Bishop’s robes Many of these 12th-century
shoes liturgical vestments are still worn today. A
patterned red chasuble is worn over a blue
Pilgrim’s clothing Pilgrims who set off cassock and white linen alb. A pallium (stole)
to visit religious sites wore practical dress, drapes around his shoulders to the hem.
including a hat to keep off the sun, robust
wool clothes to keep out wind and rain,
a staff, and a leather satchel.

058 MEDIEVAL ROMANCE AND TRADE Pillbox cap,
possibly
800 –1453 beaded

THE EAST
IN THE WEST

I n medieval times the Mediterranean basin was the most advanced center
in the world for learning, technology, and trade. The importing of luxury
goods into the Mediterranean regions and Northern Europe had a long
history, both before and after the age of the Crusades (1095–1291). Expensive
textiles came from China along the ancient Silk Road, the great trade route
running through Central Asia. Eastern weaving techniques made their way
to Byzantium and Persia, to Islamic areas in North Africa, and to Al-Andalus,
the Moorish kingdom in southern Spain. Venice made its fortune through
controlling the trade in luxuries with the Middle East. Throughout the Middle
Ages the cultures of East and West constantly exchanged and merged styles.

Assyrian-style hat

Tight aljuba
(tunic) with red

side lacing

Turban of
striped fabric

Gold buttons
down front

Extremely wide
sleeves with tiraz
(inscribed) bands

Outer robe Tunic known Decorated
known as as aljuba shoes
kabbadion
Moorish musician A detail from a mid-13th Low-slung
Woven gold century illumination, this lutenist combines the belt or girdle
borders Moorish tunic, turban, and beard of Islamic
southern Spain with the pellote (sleeveless Crossover style In 13th-century Spain
Greek doctor This doctor wears the long surcoat) then fashionable in northern Europe. Christians, Muslims, and Jews lived together
robe popular in Orthodox countries, with the and influenced each other’s clothing. Details,
fashionable 14th-century fitted torso. The such as the side lacing on this musician’s tunic,
material’s pattern of roundels containing animals show how they blended into an “Iberian” style.
is typical of high-quality Byzantine silk weaving.

THE EAST IN THE WEST 059

Turbans were Veil and
main marker of circlet
“Eastern” style

Long hair
and beard

Long, Gold-embroidered
rectangular silk dalmatic
(vestment)
mantle

Stola wraps
around body

Horizontal Long, Unshaped silk
pattern in silk loose gown dyed rich
robe Tyrian purple

Hem Ankle-
embroidered length silk
under-tunic
or woven
with gold

Turbaned king Alfonso X, king of Castile Serbian matron The Eastern Orthodox Byzantine splendor Norman King Roger II of
and León 1252–84, sits in a Moorish turban women’s dress of the 14th century shows a Sicily wears Byzantine imperial clothing for his
and robe to rule his northern Spanish Christian continuation of classical styles, not the fitted 1133 coronation. The magnificent wide gold
kingdoms. At that time, half of the Iberian clothing of Western Europe. This reflects the band encrusted with pearls and precious stones
peninsula was a Muslim kingdom. kingdom’s link with Byzantine traditions. is a long stola (scarf) wrapped around his body.

Patterned Jewish SICILIAN SILK
cotton turban cap

Fashionable
13th-century
sleeve shape

Belt with Red silk
gold clasp brocade
woven with
gold

Circular cloak
with slits
for arms

Caftan slit to Calf-length
waist to show tunic

green lining

Long Crusading travelers who visited the Middle Eastern Latin
black hose, kingdoms were astonished at the quantities of silk worn
including feet there. One renowned center for silk weaving was Sicily.
When King Roger II of Sicily was crowned, his clothing
Persian caftan An older African man wears Jewish dress This figure from a Jewish text included a semicircular silk coronation mantle made in
a caftan with a diagonal wrap front, a style known as the Bird’s Head Haggadah (c.1300) Palermo’s royal workshops. This valuable treasure is
never seen in European dress. This was worn all shows the cap sometimes worn by Jewish men. embroidered in gold with symmetrical patterns of lions
across Asia as far as China. Islamic men and Christian countries often made people of other attacking camels—symbolizing Normans versus Saracens.
women’s clothing often had the same feature. faiths identify themselves with specific clothing. Each animal is outlined with hundreds of seed pearls.
The inscription around the edge is in Arabic calligraphy.

060 MEDIEVAL ROMANCE AND TRADE Barbette fillet Holding
with wimple laces
1200 –1300 under chin
Dress trails
SOCIAL Wedding clothes A wedding scene on ground
STATEMENTS from around 1300 shows the main
trends for women’s fashion. The bride’s
Clothing became more voluminous in the 13th century, and men’s and mother wears a dress with tight cuffs
women’s garments followed the same changes in shape. Tunic sleeves but loose upper sleeves. Holding laces
had tight lower arms, but more fabric around the armhole, and the keep her mantle forward.
surcoat (sleeveless overtunic) became a wardrobe staple. Though cuts were
still simple and elegantly draped, head wear became more Mantle
complex. Women wore hairnets, or wimples (chin bands) and
circlets around the head, and men wore small, round caps. Hair getting
Beards went out; curled hair came in. Romance poetry with longer and
its glamorous ideals of dress and behavior inspired women curled
to walk gracefully with swaying hips or to hold a mantle
so as to display a slim waist. Fabrics were more widely Buttons still
available so the leisured and merchant classes could imitate unusual, featured
noble fashions. Such mimicry of their betters prompted like jewelry
litigation: laws were introduced to control what people
at different social levels could wear. Called sumptuary
laws, these regulations were rarely effective.

Hunting outfit This horseman, from around 1260, Leather belt
wears a linen coif (close-fitting cap) under another
narrow, round cap, and his tunic closes with buttons.
The heavy leather gauntlet, needed for protection from
the falcon’s sharp talons, is decorated on the cuff.

Elegant folds
in skirt indicate
fine-quality wool

SOCIAL STATEMENTS 061

Silk hairnet Curled dorelet
fringe

SURVIVING MEDIEVAL CLOTHING

Very little complete medieval clothing Slit at
has survived. Some of the best the neck
examples date from the 13th
Buttons Sayon (circular century; one such find was of
Tight sleeves cape with members of the Castilian royal
attached hood) family buried in tombs in the
Surcoat Monasterio de las Huelgas in Burgos,
skirt slit up Skirt stops Spain, dressed in royal garb. One
below knee young prince’s grave from 1275
the front revealed a laced aljuba (tunic),
Groom’s friend The groom’s companion has sideless surcoat (right), and a
Surcoat a larger cape, also lined with fur. Both men mantle. The set of matching
longer achieve a closer fit with buttons, which were clothes, called a “robe,”
than tunic beginning to emerge as popular closures. is of the finest Moorish silk
and gold samite woven with
Bride and groom The bride’s hair is gathered the royal coats of arms of the
into a net, and she wears a sleeveless surcoat kingdoms of Castile and
over her long dress. The groom’s red wool León. The finds confirm the
surcoat has a hood and a fur lining. accuracy of contemporary
illuminations and their
usefulness as historical
records. The images also
bring written descriptions
of noble finery to life.

Pellote (surcoat) belonging to
Don Fernando de la Cerda

Short, Tall hat is Linen coif ties
curled hair Spanish style under chin

Long hair Long, loose hair Silk embroidery Square
visible under symbolizes inspired by neckline
Moorish clothing
barbette unmarried status
Long pellote
Surcoat skirt wrapped
has high, up behind her

round
armholes

Male tunic Side-laced
shortening saya
again encordada

Vair (squirrel
fur) lining

Abundant skirt Wool tunic Hose and leather
pools on oor lined in red ankle boots

German romance Arthurian lovers Tristan and Spanish fashion This noblewoman French style French men wore
Isolde sport the latest youthful fashions: shorter wears a red saya encordada (side-laced coifs, especially under armor or
tunic for him; surcoat, fillet (headband), and an gown) under a pellote (surcoat). Since both are sleeveless, mail. The split tunic made riding
elegant hips-forward posture for her. Isolde’s mantle the embroidered sleeves of her camisa (linen undergarment) easier. It reveals the long hose,
is lined with vair (fur from a squirrel’s winter coat). show. Spanish-style clothes were especially formfitting. which could be footless or include
feet with leather soles.

062 MEDIEVAL ROMANCE AND TRADE Neckline is cut Shaped sleeve
straight across head set into a
RECONSTRUCTION close-fitting armhole
the back is a 14th-century
COTE-HARDIE innovation

This carefully constructed replica of a parti-colored
medieval cote-hardie (outer dress), with its
undergarments, is in blue and murrey (mulberry-
red). It follows the styles found on memorial brasses
from around 1375–85, which show the wives of knights
and barons in formal or courtly dress. The cut and
construction—four A-line, floor-length panels of fulled
(thickened) wool twill with short inset sleeves—have
been conjectured by dressmaker Sarah Thursfield.
Although the shape looks simple to modern eyes, the
figure-hugging cut and low neck were considered
shocking at the time, and the bright dyes and rows of
tiny buttons were condemned as extravagant. Under
the dress is a gray wool kirtle, lined with blue linen
and laced at the center front.

Sleeves of the gray kirtle
(undergarment) visible beneath

the shorter sleeves of the
cote-hardie, but the linen shift

is entirely concealed

Narrow cut at Simple A-line
the waist gives a shape is created
smooth, at outline from four panels

Dress widens and
becomes fuller
toward the hem

SIDE VIEW

TWO FOR ONE △ ▷
The mi-parti (part-colored)
effect of this dress was very
fashionable. The dress is
constructed in identical halves
so it appears entirely red from
one side and entirely blue
from the other.

SIDE VIEW BACK VIEW

INNOVATIONS ▷ The curved neckline COTE-HARDIE 063
Earlier dresses had long tippets cut as part is cut to sit low on
of the sleeve and faced with fur. The white the shoulders IN DETAIL
cloth streamers on this cote-hardie
could be a successor to these. ◁ BUTTONING TECHNIQUE
Buttons were fashionable The buttons shown here are
for both men and those used in the 14th century.
women: the most Rather than being sewn, they are
expensive, with secured on to the dress with a
precious stones, single length of cord, a technique
were made by that was employed on similar
goldsmiths; dresses at the time.
cheaper ones
were cast in ◁ BUTTONHOLES
pewter. Buttonholes are hand sewn using
silk thread, and all unlined wool
White streamers edgings of the dress are finished
are made of with silk facings. The dress
buttons left-over-right, the same
worsted cloth as men’s clothes. The convention
that women’s clothing buttons
FRONT VIEW right-over-left came much later.

◁ SINGLE LACE
The neckline is opened here
to reveal the gray wool kirtle
beneath, front-laced down the
center to hip level with a single
lace, as was the practice in
medieval times.

◁ EYELETS
Hand-stitched eyelets are set
close together and tight to the
garment’s edge so the lacing
is discreet and functional.

◁ SELF-COVERED BUTTONS
The sleeves of the kirtle narrow
to long cuffs fastened with up to
50 self-cloth buttons, each one
made from a circle of fabric sewn
tightly to form a firm ball. These
long cuffs would have been
impractical for anyone who
had to do manual work.

◁ OPENED CUFF
An unbuttoned cuff reveals a
simple linen shift worn next to
the skin. Wealth was reflected in
the quality and number of shifts
the wearer owned and how
frequently they were changed
and laundered.

064 MEDIEVAL ROMANCE AND TRADE Sheer silk or Long, loose hair
linen veil, shown for unmarried girls
1300 –1380 lifted by the wind
Round
FITTING TO Neckline neckline
THE BODY becomes
Sleeves fit
lower more tightly
around the

armhole

Fashionable
swayback
posture

The biggest development of the 14th century was Sleeves Saya (gown)
the move from flat, draped garments belted for become longer
shape to the cutting of curved pieces with more
complex construction to fit the body—the beginning tighter than feet
of tailoring. Closures, especially buttons, became more
important, used on new front openings and along very Long, Side lacing Lacing was still a feature
tight long sleeves. Close fitting revealed men’s and trailing in Spain in 1320. In other areas, the laces
women’s figures to great effect: sideless surcoats drew that could help achieve the fashionable
attention to slim waists and new waist seams, and low hem tightness are rarely seen in images. This red
belts emphasized the hips. Chests looked larger—both under-tunic draws attention to a narrow
sexes made use of padding. Colors began to contrast Higher hairstyle Women’s waist and swelling hips.
instead of match, and parti-coloring became popular. braids were arranged over each
Many believe that changes in “fashion” began increasing ear in a variety of styles, pinned
in speed from this time. Clothing had tended to reflect to metal circlets wrapped in
one’s place in society. However, a greater variety of colored silk threads. This sheer
fabrics and accessories, such as hoods, belts, veils, gloves, veil, fluttering in a breeze,
and shoes, made it possible to blur social distinctions. barely covers the hair.

Fillet (thin Youthful Short elbow Short, Shoulder
headband) short hair sleeve with curled hair hood with
hanging tippet gold border
Silk veil Crespinette
(net) under veil Outer robe
confines hair with hood
and loose,
short sleeves

Central plastron Wool coat
section of with baggy
cote-hardie upper sleeves

Stitching instead
of buttons

Fur trim Bone needle, Pourpoint
on surcoat linen thread (doublet) cut
to fit body,
not draped Gold
sword belt

Horizontal Jeweled hip
decoration was belt carries
dagger
fashionable,
especially in Shoes with Hose and Tight red cloth hose
Italian areas buttoned shoes have leather soles
ankle strap
Full skirt of
surcoat hangs
from narrow
center

Reproduction sideless surcoat The Sewing a sleeve For the fashionable A southern French hunter A hunting French knight This 1378 image shows
surcoat armholes are enlarged to display man, getting dressed might involve companion in 1343 has slung his hood the classic 14th-century male shape: hair
the sides of the body clad in a clinging sewing sleeve and other seams together with a long cornette (tail) over one at ear-length; nipped-in waist; round
cote-hardie beneath. The central plastron for a smooth, perfect fit. This man’s shoulder. Separate hoods ended in chest; tight lower sleeves over the hand;
section could be richly jeweled or long robe prefigures the houppelande, shoulder capes and offered another slim, fitted hips with no fullness below,
embroidered, or have elaborate buttons. a wide-sleeved, flared outer garment. site for elegant arrangement. set off with a belt; and pointed toes.

Circlet Linen veil FITTING TO THE BODY 065
with many
Sleeves of outer frilled edges Royal lady in high fashion The frilled
cote-hardie are veil covers crespinettes over the ears,
long and shaped Neck and and the cote-hardie fits a shapely figure,
shoulders covered with a surcoat and ermine
Fitted over hips fur-lined mantle in this 1380s image.
revealed

Mantle’s weight is
held forward

Most expensive
red fabrics

White fur lining
shows on hem and
sleeve streamers

Perfect fit This lady’s 1370 cote-hardie Surcoat with
(outer tunic) cleaves exactly to her upper buttoned
body. The high, round chest was also favored plastron
in men’s fashion. The wide, boat neckline shows
off her shoulders, and her braided-back hair is (trimming on
brought forward in loops over her ears. front of bodice)

Neat
pointed

beard

Prominent
chest

Sleeves tight
along the
whole arm

Second green LEATHER SHOES Fenestrated
tunic shows leather shoe
underneath Medieval leather shoes survive in much greater
numbers than fragile textiles. These London Poulaine shoe
Footed examples show some of the styles. Piercing or with leaf motif
hose incising with decorative patterns was popular
and showed off colored hose underneath. The Poulaine shoe
Getting slimmer A 1350s Neapolitan illumination long “poulaine” toe was stuffed with whalebone,
shows how the amount of fabric used in tunics was wool, or moss to keep the shape. Noblemen’s
reduced as fit improved. This man still has a fuller shoes were embroidered with silks. It was
skirt, slit over each thigh. His hose are made of hard to keep feet dry, so people wore pattens
wool fabric cut on the bias (diagonally) to stretch —overshoes with raised wooden soles that kept
around the leg. feet above the mud and filth as they walked.

066 MEDIEVAL ROMANCE AND TRADE

TRAILING

ELEGANCE

At the turn of the 15th century fashion for the nobility
became more extravagant. Improved technology allowed
weavers to run riot with patterns of twining symmetrical
fruit and flowers, or geometric motifs. Italians invented
velvet, with its sumptuous pile. Better looms meant the
aristocracy could buy more of their favorite taffetas and
damask, and indulge in more complex patterns. Long
gowns trailed on the ground, implying that the wearer
was rich enough to afford copious amounts of material.
Both sexes wore a voluminous outer garment called a
houppelande. It fit on the shoulders, was full and often
belted, and draped in folds. The sleeves could be long
and wide, sometimes adorned with tinkling bells.

For women, the silhouette was long, with a high waist
and small bosom. It was the fashion to walk with the belly
slightly protruding and the hips thrust forward. This helped
to carry the weight of the fabric and balance the headgear,
as well as to suggest fertility. In this painting, the young
couple celebrate their betrothal. The red turban of the
young man is decorated with dagged (snipped) material. His
fur-lined houppelande trails on the ground. Fur and feathers
decorate his fiancée's turban, and her dress, derived from
the houppelande, has a bodice that fits tightly to the hips.
The trailing finery and elaborate headgear of the nobility
raised moral indignation among the clergy, who reminded
the rich that such ostentation was not good for the soul.

So much pouncing of chisel to
make holes, so much dagging of
shears, with the superfluity in length
of the aforesaid gowns, trailing in
the dung and mire, on horse and...
foot, as well of man as of woman...

GEOFFREY CHAUCER, THE PARSON’S TALE, 1386–1395

LES TRES RICHES HEURES DU DUC DE BERRY ▷
Known simply as The Book of Hours, this richly decorated prayer book was
commissioned by John, Duke of Berry, between 1412 and 1416. The page here
represents April, and shows a young couple exchanging engagement rings.



068 MEDIEVAL ROMANCE AND TRADE Pointed helmet
with nose piece
600 – 1449
Norman archer This 11th-century
KNIGHTS longbowman depicted on the Bayeux
IN ARMOR Tapestry wears mail: circular links of
steel riveted together to form a
flexible, armored mesh tunic.

Mail
tunic

The arms and armor used by medieval warriors changed Quiver to Leg
over time with new developments in weapons and improved hold arrows bindings
technical skills in shaping metal. A knight needed to be
proficient in handling many different kinds of weapon and had to Bascinet Vambrace:
be able to defend himself against similar weapons wielded by his helmet with protection for
opponents. In the early middle ages men fought with axes, spears, symbolic crown lower arms
swords, and bows and arrows, either on foot or on horseback, and
protected their bodies with short-sleeved shirts of chain mail made Mail “aventail”
of interlocking metal rings. Plate armor began to be developed in protects neck
the 13th century as a defense against more efficient crossbows,
which fired bolts that could pierce soft mail. Armor was also Rerebrace:
sometimes made from leather hardened by boiling. By the mid-15th protection for
century knights were completely encased in suits of shining armor,
draped with their heraldic coats of arms. upper arms

Cylindrical great
helm with

decorations

METALWORKING

10th-century helmet

Single sheet
of metal
forged into
a cone

Nose piece is sole Padded jupon
face protection underneath
surcoat
Advances in the technology of metalworking
played a large part in determining what Heraldic Sabautons
knights wore. In the 10th and 11th centuries trappings (articulated
soldiers carried a shield as a first line of foot plates)
defense. They wore a coat of chain mail with German knight In the 14th-century jousting
a hood covered by a helmet that protected field, a knight’s appearance was as much a part Edward III of England The 14th-
the head. Only a nasal guard covered the of his display as the fighting. This nobleman century king wears a surcoat with the
face. Sections of plate supplemented the bears his heraldic coat of arms. The “wings” royal coat of arms over a padded gold
chain mail over the centuries. By the 15th on his helm were a Teutonic knightly fashion. jupon (seen at his elbows and knees).
century soldiers and horsemen wore full His low gold belt follows civilian style.
plate armor, made from multiple sheets of
metal, and no longer needed a shield.

While armor provided practical protection,
chivalrous and romantic ideals inspired the
knight in battle. His lady would give him a
piece of her clothing—a sleeve, veil, or
belt—to tie to his armor as a token of
her favor.

Norman “nasal” Mail coif (cap) KNIGHTS IN ARMOR 069
helmet with and neck gorget HERALDRY
chin strap

Hauberk (mail
tunic) with
long sleeves

Central Teardrop-shaped Hauberk
metal shield gives most (mail tunic)
boss protection to
upper body
Heraldic
symbols on

surcoat

Sword Engraved
steel greaves
English or German soldier This soldier wears (shin armor)
a hauberk (a calf-length mail tunic). Underneath,
he is dressed in a fashionable long tunic and English crusader Heraldry began as a means of identification
pointed shoes. The shield covers most of the Undertaking a in battle. It combined tinctures (colors) with
body and has a metal boss to deflect blows. Crusade was seen as holy work for charges (symbols) to make individual patterns
Christian knights. This figure, c.1250, used on shields, armor, banners, hangings,
Lace wears on his surcoat the cross of the and crests. A precise language describes
fastenings Knights Templar, an order of elite these “blazons” and emblems could
fighting monks who protected represent a quality or virtue: Geoffrey of Anjou
Top fits traveling pilgrims. (d.1151) carries a shield with the charge
closely “Azure (blue), three lions rampant gules (red)”.
to body
Close helm Closed Balanced
with visor visor wood lance

Breastplate Breastplate Spaulders
with fashionable or cuirass cover
“waistline” shoulders
Cowters on
elbows

Padded
trousers

Quilted clothing In the 14th century Medieval tournament A man fighting on Horse trappings in
thick, quilted or stuffed clothing, as in this horseback needed different armor than a foot gules (red) and argent
reconstruction, was worn under chain mail soldier. Full plate armor had to protect the (white or silver)
and plate armor to buffer the body against the whole body but be light and flexible enough
metal, distribute weight, and cushion blows. to allow the rider to mount his horse unaided. French chain mail and plate armor All the
individual pieces of armor making up a suit of
mid-15th-century plate were tied to a fitted and
padded arming doublet, using laces attached to
the doublet. Knights dressed from the legs upward.

Close-fitting collar

070 MEDIEVAL ROMANCE AND TRADE

RECONSTRUCTION

DOUBLET
AND HOSE

Closely based on the pourpoint (quilted doublet) of Charles
de Blois, dated to 1364 and housed in the Musée des Tissus
Historiques in Lyons, this sumptuous blue silk paltock
(doublet) with brocaded gilt leaves is the work of reconstruction
dressmaker Sarah Thursfield. A feature of the garment is the deep
armhole shape evolved to allow a skintight but nonrestrictive fit
on heavily muscled fighting men. Although both this version and
the original are covered in expensive silk, plain linen doublets
were usually made for the battlefield. The long hose are
suspended from points laced inside the doublet, and the feet are
soled with leather to create the shape of fashionable shoes. They
would be worn with wood pattens if needed.

30 buttons on Garment is
front of doublet hand quilted
with layers of
Seam in sleeves silk, unspun
above elbow cotton or wool,
prevents wrinkles and linen

Flat front

Tailored to
curve of back
and waistline

Curved lower SHAPED TO THE BODY ▷ Close-fitting
seam on sleeves Medieval patterns were at ankles
is cut to allow produced by fitting fabric
for movement around the body, and wealthy
people would have had
Triangular gusset at their own personal patterns.
each side creates This doublet is made from 22
shape of foot pattern pieces and took 60
hours to create. The fabric is a
SIDE VIEW length of saree silk: brocaded
silk or lampas would have
been used in medieval times.

Leather
soles

Seam curves Additional layers of DOUBLET AND HOSE 071
round over the padding protect the
shoulder blades back, shoulders, chest, IN DETAIL
and upper arms
Narrow cuff
◁ TAILORING
Tight-fitting hose were A close view of the back curve of
more suitable for posing the armhole shows the gussets
than bending and working that create the grande assiette—
the large plate shape that defines
the armhole. Each sleeve has nine
pattern pieces. The many pieces
economically use up every scrap
of the highly expensive fabric.

25 buttons ◁ FLATTENED BUTTONS
on each The doublet’s 50 sleeve buttons
sleeve and 30 buttons at the front
opening are made from a circle
of silk stuffed with cotton fiber
and sewn into a tight, firm ball.
Toward the waist, flatter buttons
with a wooden or bone interior
allow a belt to be worn
comfortably.

◁ SLASHED VENTS
Slashes at each side seam at the
same level as the points (where
the hose are attached) help the
wearer to move freely.

Each hose leg ◁ LINING AND CUFFS
is made from a The lining of the doublet is fine
single piece of blue linen, which is overlaid with
fabric cut on the a thin layer of cotton fiber and
bias (diagonal) then a layer of silk. The garment
is then quilted through all the
layers. Buttonholes are stitched
with silk thread.

◁ SUSPENDED HOSE
The hose are suspended from the
doublet by five pairs of laces with
metal aglets or chapes. These
are sewn into the doublet and
threaded through eyelets on the
hose. Later garments had eyelets
on the doublet too.

072 MEDIEVAL ROMANCE AND TRADE High collar

1380 –1450 Open at
wrists
REGIONAL
FLAIR Tight foundation
for loose
The 15th century saw an eclectic mix of regional styles and the
beginnings of pants. For men, the fitted cote (tunic) became outer clothes
even shorter. It was worn on its own or underneath long outer
Braies could
reach to the knee
—these are short

garments called houppelandes, using vast amounts of fabric and

bringing back wide sleeves. Clothing became more vivid as

dyeing and weaving improved. At the same time black grew

more fashionable, especially for the middle classes, who spent

more and more on clothes. Better wools led to the craze for

cutting raw edges as decoration and fur use reached its

peak. Individual hose legs were stitched together to create

full-bottomed hose—a key development and the origin

of today’s pants. Headgear offered variety—high

felt cones, draped cloth chaperons and

hoods, wide-brimmed straw hats, and Hood has heavily Linen underwear A man undressing
large silk and fur bonnets. Sleeve dagged tail shows 1420s underclothes. The loose shirt
hangs over a pair of short braies (fitted
shapes also grew more inventive. underpants). Doublets had many front
buttons and a waist seam for a close fit.
Waist neatly
marked

Doublet Leather pouch
collar shows hangs from belt
underneath
Center
robe neck front closing

High
collar

Paternoster Leather purse Gathered
(rosary) with metal- sleeve heads
beads edged top ap
Clothes lined
in contrasting
colors

Fur lining Lattice cutwork In France cut Sleeves
shows boots show edges were draped over
at hem hose underneath wrist
considered a
Hose in open- German style Contrasting
backed slippers panels of
Portable accessories Men and women hung Split tunic dagged cloth
all the items they needed during the day off seams show
their belts, a handy way of carrying before off dagging
pockets. This English man’s hat has a liripipe
(long tail) draped over his shoulder. Parti-colored
shoes and hose

Dagged edges This Italian man from around 1400 Shorter French robe This haincelin
wears fashionable wool clothes in different bright colors, (shorter robe) has dagged (decoratively cut)
with decorative cuts, called dagging, around the edges. edges. The earlier hood became a hat by
The cloth was so tightly woven that edges did not fray. putting the face hole on top of the head
The tight sleeves of a green doublet cover his hands. and elegantly arranging the extra material.

Sleeves in Small, Doublet padded REGIONAL FLAIR 073
two parts soft cap round chest FURS IN GREAT DEMAND

Many small
buttons

Laces with Hose tops Parti-colored Pleated The Little Ice Age made temperatures in
chapes (metal falling down legs short Europe dip in the 14th century. Demand
points) on end peplum for fur clothing was huge; sometimes up to
2,000 animals were used in one garment.
Hose laced to doublet Young men practicing Two single legs Most luxury furs came from Russia: ermine,
sword fighting would strip to their basic garments. are called “a a stoat’s winter coat; sable, a brown or
Laces tie the individual legs of the thigh-high hose pair”—a term black weasel fur; and brown marten skins.
to the bottom of the doublet to hold them up. Linen still used Cheaper local furs were budge (lambs’
drawers show underneath. for pants wool), coney (rabbit or hare), fox, and wolf.

Tall Spaniard in short doublet The dramatic shortening The 14th-century Italian merchants
sugarloaf of men’s top garments exposed the gaps in their above inspecting vair (winter squirrel fur)
hat hose. For modesty, hose were soon stitched together have the same fur lining their hoods. Furs
at the back, with a triangular piece of fabric over had heraldic meanings and painters too
the crotch. Breeches were born. represented them with stylized patterns.

Finely woven New high
straw hat collars require
short hair
Pleated
sleeve head

Wool doublet

Belt with gold Belt holds
decoration in pleats

Pleated Long doublet
fullness sleeves cover hands

Garments Chaperon hat shows
reach upper original hood shape
thigh
Robe of two
panels with Lines represent
circular hems vair (squirrel fur)

Sable or
marten fur

lining

Footed hose in
wood pattens

English style Shorter doublets with long sleeves Italian merchant in Flemish dress In van Eyck’s Houppelande with vair lining Fashion took
were an English fashion. The cut of this reproduction 1434 portrait the sleeveless burgundy velvet advantage of the wider and cheaper textiles
exploits the silk’s symmetrical formal pomegranate heuque (cloak) is lined in marten fur. It has open produced on better looms. Large houppelande
pattern. To economize, doublets could have plain sides, leaving the arms free. The ensemble is robes reached the ground at the hem and
bodies with silk used only for the sleeves. somber, respectable, and of high quality. sometimes the sleeves, and replaced mantles.

074 MEDIEVAL ROMANCE AND TRADE Long Wired horns
uncovered with frilled veil
1380 –1450 hair for
maiden
NOVELTY
AND LUXURY Flared Sleeves
sleeves buttoned past
Many hallmarks of fashion were in place by
the late 1400s: novelty, innovation, an the elbow
element of impracticality, luxury, and—
commentators insisted—excessive vanity and social Hip belt
presumption. Sumptuary laws still tried ineffectually to
regulate who wore what. English and French head wear Edges worked
was fantastical, large, and varied. Italians were more in gold thread
natural; the Flemish preferred modest linen veils. Like
men, women adopted the houppelande and other Practicing
long, full pleated gowns cut from large, circular shapes, “womanly”
belted over a tight underdress that was buttoned or, needlework skills
increasingly, laced down the front. Their long, separate
sleeves emerged from under the huge, open outer Mantle and
sleeves. Straight, scooped, or square necklines were low sideless surcoat
and shaped fashionably high round bosoms, sharply
contrasting with the new high collars of outer clothing. now marks of
nobility

Italo-Spanish dress Critics complained that English headpiece In 1417 a chronicler
necklines were so wide the breasts wanted to wrote of hats with “horns marvelously tall
leave them. This dress from the 1390s has no and broad, with long ears either side.” The
belt, Italian style. The pearl-embroidered silk Countess of Arundel’s effigy made in 1415
might have been woven locally in northern Italy. records this startling fashion.

High horned bun Headdress Padded roll forms
over temples and based on wired heart-shaped
under frilled linen
veil layers structure headdress, worn
with linen or silk veil
High, Finest fabric The bride
narrow in van Eyck’s 1434 portrait Open collar
wears Italian clothing for Belt getting
belt her wedding in Flanders. wider, under bust
The bulk of the fur lining
in her wool gown gives Sleeves Scooped Narrow cuffs
a fashionably prominent evolved neckline
belly when lifted up. from earlier
small tippets Pink cote
(underdress)
beneath

Skirt less full
than that
of a noble

Long sleeves weighed
down with rows of strips
dagged (decoratively
cut) in cross shapes

Fur lining

Long hem of French cote-hardie This close-fitting outer Changing Burgundian styles From the
gown shows gown has hanging but not excessive sleeves, 1430s the robe with narrow cuffs replaced the
sheen of and the fabric is plain. The linen veil over houppelande. The high collar, opened in the
top-quality wool modest wired horns shows how normal women front and folded down, was the start of the
modified French court fashion around 1410. V-neck popular later in the century.

Braided hair NOVELTY AND LUXURY 075
under linen veil
Popular wide
Flemish kirtle All women wore tight-fitting Flemish luxury Van der Weyden’s headgear, with hair
kirtles. This one, from around 1435, is precise 1430s painting captures
made from squirrel skins with the fur every detail of this wool gown secured above
turned inside, seen at the hem. Long, entirely lined with squirrel fur each temple
red wool outer sleeves pin on to the and pleated through the bust.
short kirtle sleeves. The skirt The lifted hem reveals a glimpse Full pleated
attaches at the waist, a new of the sumptuous cloth-of-gold pellanda is Italian
construction method. kirtle underneath.
equivalent of
Linen shift visible houppelande
at neckline
Sleeve edges cut
Tablet-woven into shapes
silk belt

Wool mantle Hair braided under
over kirtle linen veil with frilled
selvedges
Front of gown
laced together Sleeves trail
on ground
Kirtle
Piedmontese noble This northern Italian
Deep fur allegorical figure wears a huge, cut-sleeved
hem pellanda with fur lining over symbolic armor.
A chain with leaf pendants is draped around
Silk textile used her. Her hat is cut, pearled, and embroidered.
on book cover
Large fur hat
with feathers

Cloth-of-gold kirtle Modest-sized Long sash
sleeves of imported coral
beads fabulously
High,
costly round bust

Golden cote
underneath

Cote-hardie
with ground-

length trails

High girdle is Height of fashion A noble French betrothal in
tablet-woven the 1410s was an excuse for the finest clothing.
This bride’s cote-hardie is made of expensive,
in silk, with Italian-made, gold patterned silk.
gold ends

Plentiful fabric
in gown skirt



RENAISSANCE

SPLENDOR

1450 –1624

078 1450–1624

RENAISSANCE
SPLENDOR

This was the period when fashion finally moved from draped 1450–69 1470–99 1500–19
clothing to fitted garments and the art of tailoring came into
its own. Clothes gained structure and became stiffer and more 1470s 1500–1560s
supportive. The first templates for garments that remained modern
items of clothing were created: hose with a fitted doublet and outer Early versions of the Men begin layering clothes
coat for men, a bodice with a separate skirt for women. farthingale appear in Spain as to give bulk and width,
the verdugada or verdugado, especially at the shoulders,
Differentiation in clothing a bell-shaped skirt stiffened creating a square outline.
with hoops of cane, or later, They start wearing hose to
Clothing now consisted of a greater number of parts including willow. Originally hoops are show off their shapely legs,
detachable sleeves, under- and overskirts, sleeveless jerkins, and worn on the outer surface of suggesting athleticism.
breeches of different lengths. This emphasis on separate parts of the dress, later they go
the body reflected the new interest in human anatomy that had underneath the overskirt.
gripped the natural sciences. The masculine form was enhanced
by the latest clothing, with its wide shoulders, prominent codpieces, ▲ Young man wearing fur 1476
strong legs, and bellies. Women's clothes emphasized their narrow
waists, combining wide shoulders and skirts with a deeply pointed 1450s The new fashion is for
bodice. The garments of different nations or regions showed greater slashing garments to reveal
differentiation, and the religious schism between the Catholic church Sable, lynx, and other exotic the lining or undergarments.
and the reform or Protestant faiths led to the creation of new visual furs become fashionable, Perhaps from the actions
identities for members of the different faiths. replacing squirrel furs such of Swiss soldiers following
as miniver and vair. Ermine Battle of Grandson in 1476,
Age of exploration remains the perogative when they patched tattered
of royalty. clothes with fabrics plundered
The Ottoman Empire rose in the near East and southeast Europe, after from dead nobles.
conquering Constantinople (modern-day Istanbul) in 1453, bringing
Islamic might to the region. Through the 16th century the Spanish 1450s 1480s
empire was the richest and most powerful; it began to wane in the
early 17th century as the French became more dominant. This was an Women's hair is pulled back Men start to wear their hair
age of conquests, exploration, and expansion into the Americas, from forehead and covered by longer. Blonde hair becomes
following Columbus’s arrival in 1492. Other explorers ventured a caul (small bag worn over a the vogue in Italy for women.
around the world opening up sea trading routes around Africa bun at the back of the head) Women sit in the sun with
and Asia, crossing the Pacific and discovering new goods to or a crespine (mesh net). their hair spread out on
bring back to Europe. Fashionable women shave circular disk-shaped hats
their foreheads and eyebrows. to lighten it. Chemicals are
Dominant personalities In warmer Italy married women also used to bleach it.
wear their hair long, braided,
New realism and naturalism in painting meant in loose knots, and uncovered. ▲ Wide, square
that portraits were much more realistic and could shoulders
accurately represent individuals and their clothes.
Dominant personalities in Europe—Henry VIII 1450s 1509
and Elizabeth I in England, Philip II in Spain, Marriage of Catherine of
François I and Henry IV in France, the Brocade becomes Aragon to Henry VIII of
de’Medici dynasty in Florence, and Suleiman the a luxury fabric England starts a trend for
Magnificent in the Ottoman empire—reinforced their as weaving geometric black-work
position with strong visuals in paintings that portrayed techniques embroidery on linen clothing.
them in fashionable clothes. Ruffs, in particular, became improve. The Designs are inspired by
popular. The starching process stiffened cloth and best fabric comes patterns popular in Spain
allowed the development of very wide ruffs, and lace from Moorish culture.
became the most luxurious textile to own. In the from Italy with
late 16th century heeled shoes were invented. Chinese, Indian, and ◀ Black-work embroidery
Persian motifs reflecting
increased trade with
these countries.

◀ Italian brocade dress 1490s 1516

Metal pins cost a penny each Charles V of Spain unites
in Henry VIII's time so fish the Hapsburg territories
bones and thorns are often with Aragon and Castile.
used for sewing. Spain becomes the
dominant power in Europe.
Black clothes with rich
decoration are favored.

TIME LINE 079

And I will make thee beds of roses, With a thousand fragrant posies,
A cap of flowers and a kirtle, Embroidered all with leaves of myrtle.

THE PASSIONATE SHEPHERD TO HIS LOVE, CHRISTOPHER MARLOW C.1589

1520–39 1540–59 1560–64 1565–99 1600–20 1621–24

1520 1560-1600 1605 1620s
Spanish Conquistadors
defeat the Aztecs in Mexico. Men’s clothes get narrower Hemlines go up to show Colored stockings, especially
Cochineal used as a red dye on shoulders and longer. feet, following the red ones, become popular.
is brought back to Europe. introduction of heeled shoes The newer style of latchet-
for the rich, hence the closing shoe shows off the
▼ Collecting cochineal beetles expression “well heeled.” hose underneath, and
embroidery at the ankle.

1562 1600s 1620s

English legislate against the In lady’s wear, the short Surface ornamentation of
wearing of “monstrous and jacket is introduced. fabrics is replaced by bright,
outrageous greatness of These are initially closed solid-color satins decorated
hose” after fashion for with ribbons, later with metal with rosettes, wide bows,
padding tops of legs reaches hooks and eyes. They are and looped trims. For
ridiculous proportions. worn by all stations of society women, the virago sleeve
but the materials depend on —full slashed sleeve divided
rank. Boned bodices cinch into two puffs at the elbow by
in waist and lift the barely a ribbon or trim—comes in.
covered breasts.

1540 ▲ Pope Pius V wearing
his white habit
The codpiece reaches its
peak in terms of size and 1566
decoration. Designed to cover
the gap between the two legs Pope Pius V is credited with
of men's hose, it is padded changing the color of the
and shaped to emphasize papal robes from red to
rather than disguise the white, as he would not give
genital area. up his Dominican habit.

▲ Intricate lacework 1550s 1570s 1600–1650
Introduction of the
1527 The chopine, an early French, or “wheel,” Ruffs are replaced by broad
platform overshoe, has farthingale, with a stuffed collars of lace. Hats become
Mateo Pagano in Italy and been popular since the roll around the hips and taller and broader with
Pierre de Quinty in Cologne late 15th century. At a hoop with horizontal brims, sleeves get puffier.
publish the first pattern books this time they reach the
for embroidery and peak of their height stiffeners tied around the
lace making. (20 in/50 cm). waist that makes the skirt
stick out from the body.
▶ The Laughing Cavalier
◀ Reconstruction of a by Franz Hals (1624)
farthingale underskirt
1620 1625
1564
Starching is introduced from English Puritans establish Fashionable married women
the Low Countries and a colony in Plymouth, abandon the wearing of
allows for the development Massachusetts. Somber a cap and wear their hair
of large, stiff ruffs. Starch can colors and tall, black elaborately styled, uncovered,
be colored yellow or blue to capotain hats are worn; or with a hat.
tint the ruff. lacings and jewelry are
forbidden by Puritans.

▲ Punched, kid leather and pine
chopine from Venice, Italy

080 RENAISSANCE SPLENDOR Wulsthaube (German headgear) made Lacing shows
of decorative cloth over a large linen linen shift
1450 –1500 roll in fashionable turban shape underneath

THE FASHION End of linen veil Cuffs
SPLIT extending
Pleating over hands
By the middle of the 15th century there were marked
regional differences in women’s dress. The medieval Shift shows through open
standard one-piece tunic moved toward a broad sleeve seam with buttons
spectrum of fashions in cut and construction. As garments
began to separate into pieces, dressmaking played with the Structured
cut of skirts and sleeves newly liberated from bodices, and support holds
incorporated folded collars and laced closures. Head wear up padded roll
continued trends from earlier in the century but was
becoming spectacularly complex. As the elongated Gothic Full, circular skirt
look disappeared, clothing became softer and wider. attached at waist
Improved weaving technologies continued to increase
textile production and make fabrics more affordable, Rounded veil Women in Germanic regions kept
especially for the growing, prosperous merchant classes. In a more natural soft shape developed from the
Northern Europe fur remained a vital addition for warmth. medieval houppelande. Rounded lines appeared
in their hats, veils, and necklines. The central panel
of pleating gave a neat fullness to the skirt.

HATS AND VEILS Sleeves Entirely lined Long hair
getting tighter in white fur tied back

Belt holds
extra fabric
in pleats

Streamer connects
her to fellow dancer

High forehead Cylindrical hat No waistline

Headdresses often emphasized a woman’s Long trailing hem Silk and
high, smooth forehead. Many women gold textile
bleached their hair to a fashionable blonde,
or plucked their hairline to create a higher Stiffened
forehead. Cylindrical hats of different lengths bands
were stylish in France, Burgundy, England,
and the Low Countries. They were Split overgown The trend for visible linen undergarments
supported by a small cap or wire structure. began in Spain. In this portrait from 1482 Isabel of Castile’s
Wiring and pins were used to attach fine long, white shift sleeves are pulled from a slit in her outer
veils of silk or linen over the headdress. sleeve. Reinforced horizontal bands help the skirt to stand
out—this is the farthingale’s origin.
Double cornet headdress The
padded roll on this French lady’s
headdress creates a split effect like a clamshell. Her
ballgown shows the shift from a high houppelande
neckline to the lower V-line one, with less pleating.
She could wear another gown over this one.

Nearly THE FASHION SPLIT 081
horizontal hat
Linen veil Hanging sleeves French gowns High forehead
Skirt separate covering hair kept the wide, hanging sleeves
at waist of earlier in the century. By 1475 Black hood
Deep collar Visible camisia Red lacing cord the natural waistline was marked
(shirt) under Gold embroidery with a sash and the kirtle skirt Arched neckline
Long, tight dress was revealed. and overlapping
sleeves front opening
Flowing, loose Sable fur lining
silk giornea White silk
(overgown) sash or girdle

Silk brocade Supporting cap
textile
Kirtle
Gown longer than skirt
the wearer — mark
of excess Transparent
silk veil
Brocade gown English women tended to wear Giornea In Italy looser, natural styles began to be
shorter versions of the tall, continental head wear. Lady worn. Florentine women of the 1480s wore a long, Top of kirtle
Margaret Peyton’s gown flaunts expensive, patterned front-opening giornea tunic draped over a laced visible
fabric, and her collar is turned back to frame rich gown with a natural bustline. The matching sleeves Wide belt
jewelry. Wire keeps her veil in a butterfly shape. are separate and are tied or pinned to the shoulder. pulled tight

Hair twisted to Sleeves tie Gown Towering headdress The
become part together and entirely lined Burgundian court set a fashion
of headdress to the shoulder for long, pointed headdresses
with fur worn with gowns with high
waistlines. The low neckline
Patterned reveals the top of the kirtle
underdress underneath. The style
visible at bust echoed the pointed
Gothic architecture.
Plastron Circles cut
(underbodice) into sleeve Skirt extends into
shows at very long train
bodice top

Upper and
lower
sleeves tied
together

Front opening Heavy fabric
held with buttons
on skirt

Split sleeves Fashionable women combined Floor-
many ideas in one ensemble. This French or length
Flemish lady from just before 1500 wears skirt
Italian-style split sleeves allowing the chemise
to spill out of her square-fronted gown. V-neck gown In northern Italian regions such as
the city-state of Venice the outer tunic turned into
a high-waisted, V-neck gown. Cuts and slashing
in sleeves became inventive. In this reconstruction,
the shift is decoratively pulled through the holes.



RENAISSANCE SPLENDOR 083

RICH

PANOPLY

The spectrum of Venetian society—and clothing—at the
end of the 15th century is displayed here in a rich
panorama. The crowds around the Rialto Bridge in 1494
wear an array of styles that reveal something about their
position in society. The gondoliers and young men are at
the height of fashion, with long curled hair and fantastic
displays of ziponi (doublets), jerkins, and camisas (shirts)
bursting from the seams. The calce (hose) patterns are
particularly varied. Their passengers’ dress shows restrained
and better-quality versions of these fashions, sometimes
covered with looser open robes. On land and crossing the
bridge are the patrician professional men, members of
guilds and government. They wear baretas (small round
caps) and vestas (long, sober, official gowns) in red or black
with a wide-sleeve style called a dogale.

Visitors from Islamic lands, who traded with Venice, can
be distinguished by their turbans. Two Jewish men are
clothed in black hats and Oriental silks. On the balcony
are Dominican monks in white and clerical men in red robes
under white albs. Few women are out in public, although
they can be glimpsed in windows and beating an expensive
“Turkey” carpet on the roof. Linen shirts and other items
normally hidden from view can be seen drying on roof poles.

The sea not only brought the city her
prosperity, but...Venetian painters
were inspired to record the dazzling
effects of light on the buildings and
bridges that line the canals...the
bustle of canal traffic, the gondolas...
and merchant vessels.

WILL DURANT, THE RENAISSANCE, 1953

◁ CLOTHES PARADE BY THE RIALTO BRIDGE
This detail from Vittore Carpaccio’s painting The Miracle of the Relic
of the True Cross (1494) shows a cross section of 15th-century
Venetian society dressed in the fashions of the day.

084 RENAISSANCE SPLENDOR Round cap Mi-parti
(two-part)
1450 –1500 Visible lacing colored robe
Sword, dagger,
RENAISSANCE MEN and hunting purse

From the 1480s new broad shapes began to replace the last traces Mid-length
of the medieval in men’s clothing. Instead of an emphasis on a robe
long, vertical male figure, the Renaissance man, with his earthier,
artistic, and scientific pursuits and a new interest in classical ideas, Panto e
favored blunt and square forms that expanded sideways. slippers with
Soldiers’ and statesmen’s cropped hair grew into the long, open backs
natural locks of poets and scholars. Men began to wear
collections of clothing as an ensemble and used Hunting livery The two colors in this young
surfaces, fabrics, and edges as decorative spaces. Frenchman’s robe were probably livery,
Places where clothes connected—in seams, the showing his employment by a lord. The lacing
tops of sleeves, and under lacing—revealed layers fastening the front was now visible. The collar
underneath. Though pleating continued, natural and sleeves showed a careful cut and fit.
folds reappeared using the elegant drape of
circular pieces to great effect.

Wide and square All the elements of
a new style were in place by 1490 in
France—broad shoulders, flat-toed
shoes, copious draping, and a
wide neckline. The loose outer
gown hides the close-fitting
doublet and hose.

High collar Soft cap
on doublet with stripes

Gold chain Belt with Cropped
of office decorated purse doublet

Open sleeves Sleeve opened
caught with at the seam
clasps
reveals undershirt

Sleeves Intricate silk
rolled up brocade

Beautifully Wide-toed shoes Decoratively
decorated hose patterned hose

Leopard Shoes becoming
fur lining less pointed

Short robe, long toes Serving the king Decorative elements Northern European
at the table was an honor for English lords. youths flaunted fashion knowledge by blending
This man’s sword shows his knightly position. new Italian influences such as long, curling hair
The exaggerated long toes of poulaine and a slashed doublet sleeve with local styles.
shoes were very fashionable at court. The short doublet was a sign of youth.

RENAISSANCE MEN 085

Full pleated Wool hat with Padded, round
shoulders long liripipe hat with jeweled
roundels and an
Gold collar Silk and silver idealized crown
of authority velvet doublet
Gold and silk
Open hanging brocade
sleeves
Pleated
Elaborate hanging
horse
sleeve
trappings

Evenly
pleated skirt

Parti-colored Fur lining Red hose
hose expensively
dyed

Long, Pattens with
pointed wooden soles

toes Shoes part of
hose legs

Black velvet robe Charles the Bold’s outfit Knee-length robe Sumptuary laws in The power of gold Lorenzo de’ Medici, the
picked up on the popularity of black through many cities regulated what people in each Magnificent, reflected the power of his Florentine
the century. Rich, true blacks were difficult to social level could wear. This noble Florentine banking family c.1460 in clothing woven with gold.
dye and displayed a subtle expensive quality. man used his outer gown’s open sleeves to Even his riding accessories were elaborately wrought
His large chaperon (hat) was stuffed for shape. flaunt the costly Italian velvet underneath. and made from gold to reveal his social position.

Wide, soft hat Soft, LIFE CHANGES
round
Folded-back cap
collar
Loose cuffs

Visible shirt Gloves
and lacing

Velvet robe

Thigh-length robe
of youth

Unstructured cut

Sword of As a man moved through each stage of life,
nobility his clothing changed to reveal his place in
society. Active young men wore short, fitted
Round-toed doublets and robes revealing shapely thighs.
shoes In adult maturity, around 25, the hemline
started creeping farther down the thigh. By
New naturalism English clothing also became Royal simplicity By contrast with displays middle and old age hemlines reached the
less structured and more naturalistic. This man, of wealth and excess, a ruler such as Juan II of floor. Longer and darker robes enhanced
with his youthful clothing and cheerful expression, Portugal chose to dress simply and elegantly. dignity for professional and political men,
embodies the sanguine, optimistic character The red silk velvet of his doublet is a valuable and for those who did not do manual labor,
described in medieval science and medicine. textile despite its restrained use. such as scholars and doctors. The floor-
length robes also kept them warm.

086 RENAISSANCE SPLENDOR Long hair draped Black velvet gollar
around head (shoulder cape)
1500 –1560
Embroidered
FROM DRAPE breast-band
TO SHAPE
False lining
Soft, draped lines began to disappear as the century went on. Women’s to make
dress had two main parts: bodice and skirt, and sleeves were often
separate too. The gradual move from clothing that draped over the puffs of silk
body to clothing that shaped it was complete. Only outer robes and coats
were now waistless. Full skirts widened with gathered and pleated Nonfunctional,
waistlines. Outer skirts were opened up in front to reveal a petticoat or pleated linen apron
forepart underneath. The Spanish farthingale (a hooped petticoat) created
a bell shape and defined the century’s silhouette. Bodices became smooth Tight, vertical
and fitted by adding stiff materials inside. While the torso straightened, pleats in skirt
sleeves grew larger and more elaborate.

Shoulder Round “French hood” Heavily pleated skirt The 15th-century
straps comes under ears and obsession with pleating continued in
sits back over braids
Germanic fashions. This woman’s dress
Translucent is laced open in the front and has
linen partlet
Square neckline an embroidered breastband under
her gollar (shoulder cape).
Pointed front
makes waist Earlier black hood
look smaller evolved into lappets

Half-sleeves with (decorative folds)
shift showing
Straight,
horizontal

neckline

Gown fully DEFINED SHAPE
lined with
ermine fur

Rich forepart with
pearls matches
undersleeves

Conical, stiff body Wired headdress Gable headdress
with farthingale support
underneath
Triangular shapes Catherine Parr, last wife of Henry Fashion became architectural as the century
VIII, shows off the smooth, triangular shapes achieved Gown skirt still progressed. Strong, new shapes distinct
by reinforced support beneath outer clothing. The softly draped from body lines were built over supports
silver-gilt fabric of this gown from 1545 is woven that kept the garments taut and straight.
with a large pomegranate pattern. Fur-lined silk gown The huge sleeves of the The English gable headdress used wire
Duchesse d’Etampes’ 1540 French gown are underneath to turn the 15th-century hood
turned back to reveal an expensive ermine fur into a sharp peak. Spanish women began
lining. While her gown trails on the floor, to wear horizontal willow hoops called
the kirtle skirt is ankle length. vertugado (farthingale) under their skirts to
make them stand out. Stiffened bodices
flattened the bosom, creating an inflexible
torso like an inverted triangle.

FROM DRAPE TO SHAPE 087

Curved Robe with high Visible Natural hair
headdress collar open camisia held by snood
popular on over gown
continent (shirt) Voluminous
sleeves
Sleeves Open neck shows
of kirtle off fine linen collar
(underdress)
Overlapping Strong, vertical Strong color
show front closing slashes contrast

Ermine fur Girdle Straight,
trimmed emphasizes stiff torso
sleeve waist and hips
Rounded, soft,
natural lines

Lustrous silk satin

Decorated
hem

Taffeta dress

Softly draped dress This Flemish dress from c.1500 Satin and taffeta The smooth, tight bodice contrasts Gown with large sleeves Even without
shows the soft, early version of a style that became with the sumptuous, light-catching folds of this Italian extra reinforcement, tightly woven silks
rigid in form as the century progressed. The torso is dress from c.1555. The red overgown’s short sleeves had a stiffness and body that gave an angular
natural in shape, and the sleeve cuffs are large. The have fine silk puffs between the panes of fabric. bulk, here painted by Venetian artist Titian.
woman’s long mantle (cloak) covers her trailing skirts.
Tocas de LINEN SHIRTS
French-style hood cabos hairstyle
contrasts with peaked Imperial colors The Empress Maria —braid ends
English gable headdress and her daughter wear Spanish-style pinned up
dresses in the Austrian Habsburg
Partlet (neck covering court in 1553. The contrast between Gathered collar
with collar) covers black and white was used in both is start of ruff
décolletage austere and extravagant
fashions across Europe.
Gown sleeves
have huge Black
turned-back cuff velvet ropa

Girdle
accentuates
waist

Open gown Beneath every elaborate gown a linen
reveals forepart undergarment was worn next to the skin.
or kirtle It was known by many names: English
smock, shift, or shirt; French chemise;
Long girdle ends Italian camisia; Spanish camisa; and
in pomander over German hemd. This was an essential layer
cloth-of-gold kirtle skirt because linen could be washed and it
protected outer garments (which were never
Decorative washed) from the body. When clothing
ribbons with started to reveal this layer, emphasis on the
jeweled points linen quality and delicate embroidery around
the neck and cuffs increased. Sleeves
Royal splendor In the 1550s Queen Mary I continued Applied panels became bigger to create abundant billows
to wear the English court styles popular during her of slashed satin emerging from gowns.
father’s reign, unlike her more fashionable sister,
Elizabeth. Women could cover their neck and bust
with separate partlets in fine or heavy fabrics.

088 RENAISSANCE SPLENDOR Knit cap

1500 –1560 White fur used as
contrasting trim
NEW MEN IN
A NEW WORLD Shovel-shaped
beard
As conquest, exploration, and wars expanded the known world,
men’s fashion broadened too. Clothing expressed an
assertive, confident masculinity through bulky layers
that increased a man’s physical presence. Huge shoulders,
broad chests, prominent codpieces, and an emphasis on
the thighs all enhanced a sense of the active body. The
legs usually peeped out below knee-length skirted robes
and jerkins and the newly separate breeches and hose.
Clothing complexity increased as linings and shirts burst
through deliberately cut and slashed outer garments.
Embroidery and lines of braid also helped enrich the
surfaces of clothing, largely replacing patterned textiles.

Leather or wool Silk and fur hats
coat with skirt

Satin doublet with
rough cuts

Variety of
hairstyles

Doublet laced
open over shirt

Knee-length Jerkin with
breeches deep, triangular
opening and
Boots Solid, square silhouette Holbein the skirt
that look Younger’s 1533 portrait of a French
Broad, domed
like ambassador epitomizes the fashionable toes on shoes
shoes solid, rectangular shape. Round puffed
sleeves create massive shoulders, while the
Three layers of men’s dress These early lines of his cap, skirt, shoes, and spread-out
16th-century Italian musicians wear a big-sleeved
doublet and hose (center), a bulky coat with a pose all emphasize the horizontal.
separate skirt cut on the circle (left), and, over
the whole, an armhole cloak with fur collar (right).

NEW MEN IN A NEW WORLD 089

Flat, round cap

Hair Blackwork
shortening embroidery on

Gold jewelry visible shirt Expensive
red textiles
Excessively
wide

shoulders

Strong vertical Torso getting
lines of more rigid

decoration
and cut

Color contrast
of layers

Codpiece Dagger, sword,
and sword belt

Heavy cutting Soft lining Excess and display A Flemish man of
and slashing under panes the 1520s takes stylish width to extremes
on every
surface (strips) of with his outer clothing wider than it is
breeches high. His skirted velvet jerkin covers the
top of the breeches, and its wide front
Breeches extend White leather shoes
below knee with slashing opening reveals a matching doublet.
and pinking
Low, square-toed
slippers

Fashionable slashing It is thought the craze Focus on thighs Breeches or upper hose THE CODPIECE
for slitting clothing surfaces came from soldiers ranged in fit from skintight to extremely loose
cutting plundered garments to make them fit. In and baggy. By 1548 the jerkin skirts on
this 1514 portrait, Henry IV, Duke of Saxony, wears Archduke Ferdinand of Tirol had shrunk into
a whole suit slashed to reveal the inner lining. small panes, flaunting the codpiece and thighs.

Doublet Collar and revers Jewels and feather
front under turned back in velvet cap
scoop-neck
As a horse was a sign Semicircular
jerkin of power, horseback short cloak

pose suggests leadership
and action

Lots of linear
braids emphasize
clothing shapes

Codpiece

Fur-lined Royal eur-de-lys The origins of the codpiece lie in the triangle
outer coat emblem of fabric used to join the two separate hose
legs in the late 15th century when doublets
Paned decoration In this reconstruction, Monochrome monarch Henri II of France, shortened. Soon padding was added and
the deep U-shaped jerkin front goes over one of the age’s dominant personalities, ended up as the codpiece—a prominent,
a doublet made of fabric panes (strips) exploited the stark drama of black and white, suggestive shape filling the gap between
joined by buttons. The sleeves are also with severe gold decoration, in a mid-16th- the legs of the breeches. It soon became a
made of panes. century portrait of sovereign power. normal part of male clothing, in style across
many countries and social levels until the
end of the 1500s. Tailors became as
creative with codpiece shapes as with other
clothing details. The codpiece could hide a
pocket or even be used as a pincushion.

090 RENAISSANCE SPLENDOR Doublet front Wide, straight lapels
curves gently show off applied
COAT, DOUBLET, AND HOSE parallel bands of

SAXONY bias-cut dark velvet
ENSEMBLE
All bands edged
This unique and extraordinary set of with silver-gilt
mid-16th-century clothes belonged to cords
Maurice, Elector of Saxony from 1547 Prominent
to 1553. It is the most complete—and oldest codpiece is made
surviving—example of real fashion from the of silk velvet and
period. The princely ensemble comprises a stuffed into shape
short, round, pleated coat with puffed and
hanging sleeves, a satin doublet, puffed and Chamois or suede
slashed trunk hose, and chamois or suede hose have leather
hose. Yellow silks accented with black velvet soles and a gusset
are an extravagant reflection of the heraldic below the ankle to
colors of the Saxon state. Using bands of shape the foot
fabric in this way to decorate clothing was
fashionable throughout the 16th century. The
almost square, imposing silhouette matches
exactly with the aristocratic masculine
fashions seen in many paintings of the time.

Doublet sleeves have
horizontal bands of silk
and large diagonal cuts

Satin Slashed
doublet sleeves

FRONT VIEW BACK VIEW
WITHOUT COAT WITHOUT COAT

△ TRUNK HOSE SIDE VIEW
The trunk hose are made of panes of silk velvet on the
bias, slashed diagonally so the cuts appear straight.
Each strip is bound in satin. Inside, pieces of satin are
crumpled down to give the fashionable puffed effect.

Large square collar SAXONY ENSEMBLE 091
continues from the front
IN DETAIL
and emphasizes the
shoulder width ◁ KNOTTED SILK BUTTONS
The buttons closing the front
Back of high collar is of the doublet are made by
cut in one piece with wrapping a wood core with
the back of the doublet a herringbone pattern of silk
thread. The shank is very long to
raise the decorative part above
the strain of the buttonholes,
which are stitched in silk thread.

◁ SILK DAMASK
The stunning yellow silk is
damask woven: this means the
massive, rounded pomegranate
pattern is made by contrasting
the matte and sheen of two
directions of weaving that catch
the light differently. It was more
expensive than a plain weave.

Hanging sleeves are ◁ PUFFED SHOULDERS
largely decorative, By alternating straight strips of
with armholes black velvet with the damask to
halfway down form puffs, the shoulders are
made bigger. Increasing the
Coat is nearly volume across the torso was
a full circle with the popular in the early 16th century.
width pleated into It added bulk and an imposing
the shoulders presence. Laces on the inside
hold up the puffs.

◁ PASSEMENTERIE KNOTS
On the end of the hanging
sleeves are cross shapes of Italian
passementerie—cord, knot,
and tassel work made from silk.
The vegetable-dyed colors have
faded from the original violet.
The pale parts of the knots are
entwined with silver-gilt
thread to catch the light.

◁ EVEN FOLDS
The elegant hang of the coat
is created by deep pleats. In
German regions at this time,
both men’s and women’s clothing
used huge quantities of round,
even pleats. The contrasting
color bands form an arresting
horizontal against the strong
vertical lines.

092 RENAISSANCE SPLENDOR Feathered cap

1450 –1624 Paned and Pike
puffed sleeves
CUSTOM-MADE
ARMOR Close helmet
with visor
While medieval knights wore surcoats over mail
or armor, their Renaissance counterparts Striped Colors
wanted to show off the splendor of their full hose may have
swordproof plate. Each suit was unique—reflected in the distinguished
cost—and increasingly decorated with gilding, inlay, one company
or battle scenes. Since the armor fit perfectly, the from another
substantial weight (about 55 lb/25 kg) was
evenly distributed. The knight could move Swiss mercenary The highly skilled
freely and mount and dismount his horse pikemen were greatly in demand as paid
without help—once his servants had infantry troops. Swiss soldiers, like this
undertaken the lengthy task of putting one in 1530, set fashion trends with their
the suit on. The use of full plate armor bright, color-coordinated doublet and
waned as the 16th century wore on, hose slashed into exaggerated shapes.
and handguns replaced swords
as the weapon of choice. Complete head
and neck cover
Together with the sallet
helmet, the bevor (neck
piece) offers full head
protection

Vulnerable join
covered with
besagaw (round
armpit shield)

Detachable
plackart gives
extra protection

Sections Full suit of armor Made Gold
buckled for Sir Thomas Sackville by decoration
together
the Royal Workshop in Sabatons end at
Complete protection A knight Greenwich, this steel, tip of toe unlike
in full armor did not need to carry leather, gold, and copper
a shield. Mail under the plate or alloy suit, c.1590, weighs 15th-century
sewn into joins covered potentially a hefty 81 lb (36.7 kg) pointed ones
vulnerable points.
with its plackart.

Broadsword

Made to measure This 16th-century
suit of armor was made for Henry VIII
when he was past his youthful slimness.
Armor was custom made for a snug fit,
so it was extremely expensive.

Broad at hat CUSTOM-MADE ARMOR 093
crowned with
large feathers Bellows visor
—ventilation
Shirt and lining Raised pauldron holes cut in
puffs show through protects shoulder
slashed doublet Besagaw
shields
armpit

Couter covers
elbow

Mail
under
plate

Hose in Broadsword Poleyn gives Thin uting
banded indicates an elite knee defense on cuisse
soldier—most
colors Landsknechts Plain
had pikes greave

Landsknecht German “land servants,” Italian armor The rigidity of plate armor German full plate armor Visually
c.1500, probably based their costume on provided better defense against swords pleasing as well as functional, this cuirass
their rival Swiss mercenaries. Their flamboyant than medieval mail. In 1534 Alessandro (breastplate) of 1520 is sharply pulled in at
dress typified the Renaissance. They wore de’ Medici wears a suit of armor with the waist like men’s clothing, and fluting
multicolored hose and slashed their doublets articulated steel plates that allow him imitates pleated material. Mitten-type
open to reveal their shirts and linings. to move his arms and legs. gauntlets protect the hands.

Gold Helmet fit Domed HELMET TYPES
decoration with huge crest shoulder
plate called Sallets were typical of northern Europe from
a pauldron the mid-15th century. They fit the head
except for a point to protect the back of the
Accents of red neck. Close helmets enclosed the head but
set off black, were light enough to allow movement. They
white, and gold had full visors, neck, and chin guards and
color scheme became more ornate as their battlefield
function lessened. Jousting helmets had
Ruf es at cuff sloping sides to deflect lance blows.
match frilled
shirt collar

Over-the-knee German sallet 15th-century
boot held up helmet, 1480–1510 jousting helmet
with straps
White knight Robert Radcliffe, Earl of Italian close French close
Spurs worn Sussex, wears English armor designed for helmet, c.1570 helmet, 1575
over boots tournaments in this painting detail c.1593.
The earl has unprotected legs since fighting
Philip II of Spain By the late 16th often took place over a barrier.
century full plate armor was less
common. Philip confined himself to
a gold-embellished cuirass, worn more
for ceremony than practical protection.

094 RENAISSANCE SPLENDOR Spanish saya In the 1570s Anna of High collar
Austria, Queen of Spain, wore an with small ruff
1560 –1590
elegant black saya (gown) with white Doublet worn
ELEGANT accents and lavish embroidery. The underneath
FORMALITY gown’s long, pointed sleeves and
subtle fit earned Spanish tailors
international repute.

As the century progressed so the gradual stiffening of women’s dress Silver and gold
continued. The increasingly rigid garments needed extra support, embroidery
and separate boned “pairs of bodies” (stiff undergarments) worn
under gowns started to appear—the beginning of stays and corsetry.
Linear bands and braids followed the clothing’s sharp lines and
emphasized its control of body shape. The body’s natural lines rarely
appeared. The rise and power of the Spanish empire made their severe
formality and clever tailoring fashionable, although in many Italian areas
a more relaxed soft look held sway. Ruffs slowly widened and became
separate from shirt collars. Labor-intensive lace made its first appearance
and became a mark of luxury—similar to velvets or jewels. Necklines were
either at bust level or up to the chin. The silhouette stayed triangular with
narrow waists ending in sharp points and full skirts. The tops of sleeves of
women's dresses started to be styled into puffs, tabs, and rolls. Male and
female fashions followed similar trends of adornments, cut, and color.

ACCESSORIES Low neckline Fashionably
with open blonde hair
The 16th century saw an increase in the partlet
variety and adornment of accessories for Oriental-
both men and women. Gloves, made of the style veil
finest leather, could be embroidered, and
were given as tokens of respect and
affection. Fans were popular in hot countries.
Linen handkerchiefs were a splendid way to
show off the new techniques of needle and
bobbin lace. When shoes became visible,
their heels and rosettes became equally
decorative. Silk and gold ribbons,
used in abundance if possible,
were also a form of accessory
because of their high price.

Embroidered gloves

Feathered
Italian fan

Softer lines This Venetian bride’s bodice is rigid Jeweled aiglets Handkerchief
and pointed, but her skirt, sleeves, and posture are (ribbon tips) with edged with
softer and more relaxed than northern European silk ribbons needle lace
fashions. Venetian women wore chopines (platform
shoes with cork soles) for extra height.

Soft hat with Small, neatly ELEGANT FORMALITY 095
feathers starched ruff
Hairnet and
Ruff matches and cuffs fabric cap
cuffs on sleeves
Top of sleeves Sheer partlet
puffed covers chest

Applied bands Skirt separate Waist girdle Fur-lined
emphasize from doublet reaches hem sleeved cloak

vertical lines Hanging sleeves,
similar to
Robe entirely
lined with mink men's style

Pleated skirt

Masculine style This Flemish ensemble shows Saxon Anne, Electress of Saxony, in this German woman Other than her head wear, this
how the cut and tailoring of female dress painting from c.1565, wears a short-sleeved noblewoman’s dress keeps up with fashion in
borrowed from male clothing. The doublet has fitted robe over a low-necked gown. Her heavy Europe. She wears petticoats without the rigidity
horizontal braid, front buttoning, and shoulder gold jewelry, pleated skirt, and hairnet with cap of a farthingale. Women below her class or in rural
tabs just like a man’s. are typically Saxon. areas dressed in more regional style.

Arched String of pearls Curved Chemise HAIRSTYLES
bodice front Silk damask French hood shows at
neckline New clothes were costly and time
Jeweled Typical way of consuming but hair could be changed every
bracelets draping pearls day. Another example of the inventive
and girdle Renaissance love of finery, women’s hair
Sleeves increasing during the 16th century was parted in the
in size again center, swept over the temples, curled,
crimped, arranged over pads to keep the
Soft folds contrast shape, frizzled, bewigged, piled into high
with Spanish peaks, or hidden. In Italy, bleaching hair
severity blonde was particularly popular, as in the
drawing of the Venetian woman below.
Cloth-of-gold Hair on the back of the head was curled up
petticoat in braids and became a support for hats and
headdresses, attached with pins. Women
added jewels, ribbons, and feathers, like the
ribbons perched on Anne of Denmark’s
fluffy mounds of hair.

Red and gold This sumptuous gown of c.1575 Married French noblewoman Mature women Venetian woman Anne of Denmark
has an open front over a Spanish farthingale. The covered more of their heads, and widows were
short oversleeves could be supported with boning, totally veiled. This gown’s soft, full skirts are lifted
wire, or wood to create their shape. The sleeves above a narrower petticoat. The partlet’s open
and shoulders are encrusted with embroidery. collar is the predecessor of a standing ruff.



RENAISSANCE SPLENDOR 097

FASHION ICON

ELIZABETH I

Daughter of Anne Boleyn and Henry VIII, Elizabeth I gold, and silver to complement her pure white complexion △ THE RAINBOW PORTRAIT C.1600
ruled England between 1558 and 1603. She and ruddy hair color. She adopted black and white as her In this late portrait in mask costume,
inherited many of her father’s characteristics, personal colors—a dramatic background for her jewelry Elizabeth wears a fantastic headdress
including clever use of image and clothing to cement and long, elegant fingers. A poet described her as coming inspired by an engraving of Greek
power and excite the adoration of her people. Her in “like starlight, thick with jewels.” Other symbolic items women’s dress. The eyes and ears
wardrobe was legendary, recorded in portraits that included a phoenix pendant—the fabled bird that rose painted on her mantle and the jeweled
publicized the Protestant queen’s self-made mythology. from the ashes and spoke of the Queen’s uniqueness, serpent on her sleeve may symbolize
Some of her gowns even went on display in the Tower power, and chastity. fame and wisdom respectively. She holds
of London during her lifetime to impress foreign visitors. a rainbow, seen in many of her clothes,
Her shrewdness, intelligence, and ruthlessness made her If her dress sometimes appeared overwhelmingly perhaps suggesting heavenly ideals.
a political force, just as the magnificence of huge ruffs magnificent to foreign tastes, from the 1560s Elizabeth’s
trimmed with devastatingly expensive handmade lace, dominant personality, expressed through clothing, ◁ DRESS BY ALEXANDER MCQUEEN
enormous embroidered sleeves, and large, structured, The enduring influence of Elizabeth I is
bejeweled stomachers turned her into a glittering breathed new life into fashion—it was much more clear in this McQueen dress. It features
fashion icon who loved to be admired. staid and darker before her reign. She encouraged a high neck ruff and sleeves with the
built-up shoulder and narrow, trimmed
The language of dress her courtiers to dress splendidly—especially the cuff reminiscent of Elizabethan gowns.
men, who could win her favors with an elegant
Elizabeth emphasized her tall, slender frame—
and her status—with regal headdresses. French leg, beautiful clothes, and flattering gifts of
hoods and jeweled caps were the perfect foil to gloves, gauzy scarves, and rare jewels.
set off her flaming red hair. An iconic hairstyle
saw her curls twisted over supports to frame With such a monarch, 16th-century English
her face like a heart with two large puffs on people embraced lavish fashions. Although none
either side. Haloes of pearls and gold of Elizabeth’s clothing survives, account books
outlined the edges of the hairstyle.
unfold luscious descriptions of the queen of
Symbolism made Elizabeth’s dress and fashion’s staggering wardrobe.
accessories even more compelling. Pearls—
worn as long ropes, seed pearls, and pendant A royal legacy
drops—were a favorite. As a symbol of purity
and chastity they were most appropriate for this Virgin Elizabeth’s self-fashioning was so
Queen who put her nation before personal happiness. successful that she remains an icon in
She wears them in almost every portrait from the age modern times. Her image has been
of 13, when she was painted wearing sumptuous red developed in movies and television series
silk damask and furs. Her love of fashion, ornament, and inspired designers. The tight bodices,
luxury velvets, damasks, and brocades as well as her bold shapes, huge ruffs, and regal aura have fed
use of striking colors finally found expression when into the work of fashion designers as diverse as Jean
she became queen at 25. Elizabeth favored red, Paul Gaultier, Martin Margiela, and Vivienne
Westwood. Westwood, for example, has showcased
slashed fabric, large, regal gowns, ruffs, and
enormous collars, while many generally “futurist”
fashions feature arrestingly angular shapes
reminiscent of Elizabethan style.

TIME LINE 1533 Born at 1558 ▽ Becomes queen. Her coronation 1559 Becomes head of the 1580s Inspires English c.1595 ▽
Greenwich, near robes of 1559 were of cloth-of-gold (fabric Church of England, replacing trends for extravagant, Embraces all the new
London woven with gold-wrapped thread) trimmed her sister Mary’s Catholicism exaggerated dress fashions, like larger ruffs seen
with the Protestant faith in this gold pound coin
with ermine, with a tight, pointed bodice
1560s Taking a lead from
1536 Her mother, Anne Elizabeth's delight in clothes, 1581 Knights Francis 1603 Dies
Boleyn, is executed. Elizabeth English fashions become more Drake on his return at Richmond,
is declared illegitimate. A later decorated and full of novelty from a world voyage. near London
Act of Parliament restores her Trade links foster the
right to succeed to the throne fashion for exotic fabrics
and ornament

1530 1550 1570 1590 1610

◁ THE PELICAN PORTRAIT C.1575 Attributed to Nicholas Hilliard, this painting shows the queen wearing a pelican pendant.
The pelican was thought to feed her young with her own blood, representing Elizabeth's role as mother of her people.

098 RENAISSANCE SPLENDOR Hair in two Neck area
arches over covered
1590 –1625 by partlet
temples
FEMALE Pointed,
GEOMETRY Stomacher stiffened
bodice
Large sleeves
with pinking

With the onset of the 17th century every Stiffened
aspect of women’s clothes became highly open collar
exaggerated—and borrowed heavily from
masculine styles. Fashion history’s most geometric Stiff petticoat Triangular stomacher In the
period created unnatural silhouettes made from with less 1580s as the woman’s upper
straight lines, triangles, and circles. Huge ruffs isolated fabric garment (bodice) lengthened
head from body, or open collars revealed décolletages and the gown opened, the
cut immodestly low. The French farthingale (a wheel- Revealing central space was covered
shaped support worn over the hips) made women bust line with a triangular piece called
the widest and squarest they had ever been. It also a stomacher. It was another
shortened hems to make feet—in new, heeled surface to embellish.
shoes—visible for the first time. These skirts
marked France’s ascent as Europe’s fashion
leader. Around 1620 a new naturalism appeared
and styles relaxed again. By 1625 the long,
pointed “bodies” (bodice) had been virtually
replaced by a natural waistline, and
petticoats took over from farthingales.

Masculine-style French Ribbon rosette
hat with lace farthingale as decoration

Extended, Tightly fitted Silk brocade with
curved bodice sleeves like silver and gold
men’s doublet threads
front
Widest size French farthingale Anne of
of double ruff, Denmark, the English queen,
starched blue epitomizes women’s fashion
in the early 17th century
Silk taffeta with a low, round neck,
skirt with gold
embroidery transparent, lacy collars and
cuffs, and carnation-colored
Silk petticoat Large, dyed feather fan accents. The farthingale’s
showing tabletop effect has

Cartwheel ruff Flemish artist Rubens painted transformed her
his wife, Isabella Brandt, wearing this huge ruff gown’s silhouette.
edged with lace. Ruffs achieved their greatest
width in the Low Countries, where starching Skirt’s length taken up
techniques originated. The low, curved bodice by farthingale; shoes
front also became a regional style. visible for first time


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