Fashion in fourteenth century Europe was marked by the beginning of a period of experimentation with different forms of clothing. Costume historian James Laver James Laver CBE FRSA was an author, art historian, and museum curator who acted as Keeper of Prints, Drawings and Paintings for the Victoria and Albert Museum between 1938 and 1959. He was also an important and pioneering fashion historian described as "the man in England who made the study of costume respectable" suggests that the mid-14th century marks the emergence of recognizable "fashion Fashion, a general term for the style and custom prevalent at a given time, in its most common usage refers to costume or clothing style. The more technical term, costume, has become so linked in the public eye with the term "fashion" that the more general term "costume" has in popular use mostly been relegated to special" in clothing,[1] in which Fernand Braudel Fernand Braudel was the foremost French historian of the postwar era and a leader of the Annales School. His scholarship focused on three great projects, each representing several decades of intense study: "The Mediterranean" (1923–49, then 1949–66), "Civilization and Capitalism" (1955–79), and the unfinished " concurs.[2] The draped garments and straight seams of previous centuries were replaced by curved seams and the beginnings of tailoring Although the term dates to the thirteenth century, tailor took on its modern sense in the late eighteenth century, and now refers to makers of men's and women's suits, coats, trousers, and similar garments, usually of wool, linen, or silk, which allowed clothing to more closely fit the human form. Also, the use of lacing and buttons allowed a snugger fit to clothing.[3]

Contents

General trends

In the course of the century the length of female hem-lines progressively reduced, and by the end of the century it was fashionable for men to omit the long loose over-garment of previous centuries (whether called gown, kirtle, or other names) altogether, putting the emphasis on a tailored top that fell a little below the waist—a silhouette that is still reflected in men's costume today.[4]

From this century onwards Western fashion changes at a pace quite unknown to other civilizations, whether ancient or contemporary.[5] In most other cultures only major political changes, such as the Muslim conquest of India, produced radical changes in clothing, and in China, Japan, and the Ottoman Empire The Ottoman Empire was a regime that lasted from 1299 to 1923 fashion changed only slightly over periods of several centuries.[6]

The French court during the minority and illness of Charles VI Charles VI , called the Beloved (French: le Bien-Aimé) and the Mad (French: le Fol or le Fou), was the King of France from 1380 to 1422, as a member of the House of Valois, filled with ambitious princes with a taste for luxury, was a fountain of innovation in fashion.[7] Italian clothing was led by the Visconti Visconti was the family name of two important Italian noble dynasties of the Middle Ages. Two distinct Visconti families are known: the first one in the Republic of Pisa in the mid twelfth century, who achieved prominence first in Pisa, then in Sardinia, where they became rulers of Gallura; the second and more important one rose to power in Milan, court in Milan.

Fabrics and furs

The young Richard II of England Richard II was the eighth King of England of the House of Plantagenet. He ruled from 1377 until he was deposed in 1399. Richard was a son of Edward, the Black Prince and was born during the reign of his grandfather, Edward III. At the age of four, Richard became second in line to the throne when his older brother Edward of Angoulême died, and, kneeling, wears a Houppelande A houppelande or houpelande is an outer garment, with a long, full body and flaring sleeves, that was worn by both men and women in Europe in the late Medieval period. Sometimes the houppelande was lined with fur. The garment was later worn by professional classes, and has remained in Western civilization as the familiar academic and legal robes of silk brocade with the badge of his livery A livery is a uniform or other insignia or symbol worn in a non-military context on a person or object to denote a relationship with a person or corporate body, often by using elements of the heraldry relating to that person or body, or a personal emblem, and normally given by them. It derives from the French livrée, meaning delivered. Most often. St John the Baptist wears his iconographical clothes, but the sainted English kings Edward the Confessor Edward the Confessor , son of Æthelred the Unready and Emma of Normandy, was one of the last Anglo-Saxon kings of England and is usually regarded as the last king of the House of Wessex, ruling from 1042 to 1066 (technically the last being Edgar the Ætheling who was proclaimed king briefly in late 1066, but was deposed after about eight weeks.) and Edmund the Martyr Edmund the Martyr was a king of East Anglia who was venerated as a martyr saint soon after his death at the hands of Danish Vikings. Contemporary evidence for his life and death is largely confined to the Anglo-Saxon Chronicle and his coinage. In the late 10th century, Abbo of Fleury was commissioned to write a life of the saint, which was are in contemporary royal dress. The Wilton Diptych 1395–99

Wool The term wool is usually restricted to describing the fibrous protein derived from the specialized skin cells called follicles in sheep was the most important material for clothing, due to its numerous favorable qualities, such as the ability to take dye and its being a good insulator.[8] This century saw the beginnings of the Little Ice Age The Little Ice Age was a period of cooling that occurred after a warmer era known as the Medieval Warm Period. While not a true ice age, the term was introduced into scientific literature by François E. Matthes in 1939. It is conventionally defined as a period extending from the 16th to the 19th centuries, though climatologists and historians, and glazing was rare, even for the rich (most houses just had wooden shutters for the winter). Trade in textiles continued to grow throughout the century, and formed an important part of the economy for many areas from England to Italy. Clothes were very expensive, and employees, even high-ranking officials, were usually supplied with, typically, one outfit per year, as part of their remuneration.

Mary de Bohun wears an ermine-lined mantle tied with red strings. Her servant wears a mi-parti tunic. From an English psalter, 1380–85 14th century Italian silk damasks

Woodblock printing Woodblock printing is a technique for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper of cloth was known throughout the century, and was probably fairly common by the end; [9] this is hard to assess as artists tended to avoid trying to depict patterned cloth due to the difficulty of doing so. Embroidery Embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins in wool, and silk or gold thread for the rich, was used for decoration. Edward III Edward III was one of the most successful English monarchs of the Middle Ages. Restoring royal authority after the disastrous reign of his father, Edward II, Edward III went on to transform the Kingdom of England into the most efficient military power in Europe. His reign saw vital developments in legislature and government—in particular the established an embroidery workshop in the Tower of London Her Majesty's Royal Palace and Fortress, more commonly known as the Tower of London, is a historic castle on the north bank of the River Thames in central London, England. It lies within the London Borough of Tower Hamlets, separated from the eastern edge of the City of London by the open space known as Tower Hill. It was founded towards the end, who presumably produced the robes he and his Queen wore in 1351 of red velvet "embroidered with clouds of silver and eagles of pearl and gold, under each alternate cloud an eagle of pearl, and under each of the other clouds a golden eagle, every eagle having in its beak a Garter with the motto hony soyt qui mal y pense The Most Noble Order of the Garter is an order of chivalry, or knighthood, originating in medieval England. The Order is dedicated to the image and arms of St. George as England's Patron Saint, and is presently bestowed on recipients from British and other realms; it is the pinnacle of the honours system in the United Kingdom. Membership in the" embroidered thereon." [10]

Although wool was used for the outer layers of clothing, linen Linen is a textile made from the fibers of the flax plant, Linum usitatissimum. Linen is labor-intensive to manufacture, but when it is made into garments, it is valued for its exceptional coolness and freshness in hot weather, made from the flax Flax (binomial name: Linum usitatissimum) is a member of the genus Linum in the family Linaceae. It is native to the region extending from the eastern Mediterranean to India and was probably first domesticated in the Fertile Crescent. It is known as Agasi/Akshi in Kannada, जवस (Jawas/Javas) or अळशी (Alashi) in Marathi and तीसी plant, was generally used for clothing that was directly in contact with the skin, as it was not as coarse as wool and therefore much more pleasant.[8] Unlike wool, linen could also be laundered and bleached in the sun. Cotton Cotton is a soft, fluffy staple fiber that grows in a boll around the seeds of the cotton plant. The plant is a shrub native to tropical and subtropical regions around the world, including the Americas, Pakistan, India and Africa. The fiber most often is spun into yarn or thread and used to make a soft, breathable textile, which is the most widely, imported raw from Egypt and elsewhere, was used for padding and quilting, and cloths such as buckram Buckram is a stiff cloth, made of cotton, and still occasionally linen, which is used to cover and protect books. Buckram can also be used to stiffen clothes. Modern buckrams have been stiffened by soaking in a substance, usually now pyroxylin, to fill the gaps between the fibres and fustian Fustian is a term for a variety of heavy woven, mostly cotton fabrics, chiefly prepared for menswear. It is also used to refer to pompous, inflated or pretentious writing or speech, from at least the time of Shakespeare. This literary use is due to the fact that the cloth type was often used as padding, hence, the purposeless words are 'bombast'.

Silk Silk is a natural protein fibre, some forms of which can be woven into textiles. The best-known type of silk is obtained from the cocoons of the larvae of the mulberry silkworm Bombyx mori reared in captivity . The shimmering appearance of silk is due to the triangular prism-like structure of the silk fibre, which allows silk cloth to refract was the finest fabric of all. In Northern Europe, silk was an imported and very expensive luxury.[11] The well-off could afford woven brocades Brocade is a class of richly decorative shuttle-woven fabrics, often made in colored silks and with or without gold and silver threads. The name, related to the same root as the word "broccoli", comes from Italian broccato meaning "embossed cloth," originally past participle of the verb broccare "to stud, set with nails,& from Italy or even further afield. Fashionable Italian silks of this period featured repeating patterns of roundels A roundel in heraldry is a disc; the term is also commonly used to refer to a type of national insignia used on military aircraft, generally circular in shape and usually comprising concentric rings of different colours and animals, deriving from Ottoman The Ottoman Empire was a regime that lasted from 1299 to 1923 silk-weaving centres in Bursa Bursa is a city in northwestern Turkey and the seat of Bursa Province. With a population of 2,550,645 (2009), it is Turkey's fourth largest city, as well as one of the most industrialized and culturally charged metropolitan centers in the country, and ultimately from Yuan Dynasty The Yuan Dynasty , Mongolian: Dai Ön Ulus/Дай Юан Улс), or Great Yuan Empire (simplified Chinese: 大元帝国; traditional Chinese: 大元帝國; pinyin: Dà Yuán Dìguó) was both the continuation of the Mongol Empire and the Mongol founded historical state in Mongolia and China, lasting officially from 1271 to 1368. Although the China China is seen variously as an ancient civilization extending over a large area in East Asia, a nation and/or a multinational entity via the Silk Road The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. The Silk Road gets its name from the lucrative Chinese silk trade, a major reason for the connection of trade.[12]

A fashion for mi-parti or parti-coloured garments made of two contrasting fabrics, one on each side, arose for men in mid-century,[13] and was especially popular at the English court. Sometimes just the hose would be different colours on each leg.

Checkered and plaid fabrics were occasionally seen; a parti-colored cotehardie depicted on the St. Vincent altarpiece in Catalonia is reddish-brown on one side and plaid on the other, and remains of plaid and checkered wool fabrics dating to the 14th century have also been discovered in London.[14]

Fur was mostly worn as an inside lining for warmth; inventories from Burgundian villages show that even there a fur-lined coat (rabbit, or the more expensive cat) was one of the commonest garments.[15] Vair Vair is the heraldic representation of patches of squirrel fur in an alternating pattern of blue and white. As a tincture, vair is considered a fur and is therefore exempted from the Rule of tincture (i.e. it can be placed upon a metal, a colour, or both). Variations of vair are laid out in different patterns, each with their own name. Vair may, the fur of the squirrel, white on the belly and grey on the back, was particularly popular through most of the century and can be seen in many illuminated manuscript An illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders and miniature illustrations. In the strictest definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and modern scholarship, the illustrations, where it is shown as a white and blue-grey softly striped or checkered pattern lining cloaks and other outer garments; the white belly fur with the merest edging of grey was called miniver.[16] A fashion in men's clothing for the dark furs sable The sable is a species of marten which inhabits forest environments, primarily in Russia from the Ural Mountains throughout Siberia, in northern Mongolia and China and on Hokkaidō in Japan. Its range in the wild originally extended through European Russia to Poland and Scandinavia. It has historically been harvested for its highly valued fur, and marten The Martens constitute the genus Martes within the subfamily Mustelinae, in family Mustelidae arose around 1380, and squirrel fur was thereafter relegated to formal ceremonial wear.[17] Ermine The stoat or ermine, Mustela erminea, is a small predatory mammal of the family Mustelidae. It is also known as a Shorttail Weasel and less frequently as the ermelin. Sometimes "ermine" refers to the animal only when it has white fur in the winter, and in this case "stoat" only refers to it when it has brown fur was worn by royalty, with tufts of black fur worked through the white for decorative effect, as in the Wilton Diptych above.

Men's clothing

Shirt, doublet and hose

The innermost layer of clothing were the braies or breeches Breeches are an item of male clothing covering the body from the waist down, with separate coverings for each leg, usually stopping just below the knee, though in some cases reaching to the ankles.The breeches were normally closed and fastened about the leg, along its open seams at varied lengths, and to the knee, by either buttons or by a draw-, a loose undergarment, usually made of linen, which was held up by a belt.[18] Next came the shirt, which was generally also made of linen, and which was considered an undergarment, like the breeches.[18]

Jean de Vaudetar, chamberlain of king Charles V of France, presents his gift of a manuscript to the King, by Jean Bondol, 1372. For this very formal occasion, he is shown without anything over his tightly tailored top. The king wears a coif Coifs were worn by all classes in England and Scotland from the Middle Ages to the early seventeenth century

Hose Hose are any of various styles of men's clothing for the legs and lower body, worn from the Middle Ages through the seventeenth century, when the term fell out of use in favor of breeches and stockings. The plural for "hose" is hosen or chausses Chausses are armour for the legs, usually made from mail. They could extend to the knee or cover the entire leg. Chausses were the standard type of metal leg armour during most of the European Middle Ages. Chausses offered flexible protection that was effective against slashing weapons. However, the wearer felt the full force of crushing blows made out of wool were used to cover the legs, and were generally brightly colored, and often had leather soles, so that they did not have to be worn with shoes.[18] The shorter clothes of the second half of the century required these to be a single garment like modern tights, whereas otherwise they were two separate pieces covering the full length of each leg. Hose were generally tied to the breech belt, or to the breeches themselves, or to a doublet A doublet is a man's snug-fitting buttoned jacket that was worn in Western Europe from the Middle Ages through to the mid-17th century. The term also refers to a formal jacket worn with highland dress, a variation of which is called an Argyll jacket or Prince Charlie jacket.[18]

A doublet was a buttoned jacket that was generally of hip length. Similar garments were called cotehardie, pourpoint, jaqueta or jubón.[19] These garments were worn over the shirt and the hose.

Gown and coteheardie

A gown A gown is a (usually) loose outer garment from knee- to full-length worn by men and women in Europe from the early Middle Ages to the seventeenth century (and continuing today in certain professions); later, gown was applied to any woman's garment consisting of a bodice and attached skirt, tunic or kirtle A kirtle is a tunic-like garment worn by men and women in the Middle Ages or, later, a one-piece garment worn by women from the later Middle Ages into the Baroque period. The kirtle was typically worn over a chemise or smock and under the formal outer garment or gown was usually worn over the shirt or doublet.[18] As with other outer garments, it was generally made of wool.[18] Over this, a man might also wear an over-kirtle, cloak A cloak is a type of loose garment that is worn over indoor clothing and serves the same purpose as an overcoat—it protects the wearer from the cold, rain or wind for example, or it may form part of a fashionable outfit or uniform. Cloaks are as old as human history; there has nearly always been some form of long, unstructured outer garment used, or a hood.[20] Servants and working men wore their kirtles at various lengths, including as low as the knee or calf. However the trend during the century was for hem-lengths to shorten for all classes.

However, in the second half of the century, courtiers are often shown, if they have the figure for it, wearing nothing over their closely tailored cotehardie. A French chronicle Generally a chronicle is a historical account of facts and events ranged in chronological order, as in a time line. Typically, equal weight is given for historically important events and local events, the purpose being the recording of events that occurred, seen from the perspective of the chronicler. This is in contrast to a narrative or history, records: "Around that year (1350), men, in particular noblemen and their squires, took to wearing tunics so short and tight that they revealed what modesty bids us hide. This was a most astonishing thing for the people"[21] This fashion may well have derived from military clothing, where long loose gowns were naturally not worn in action. At this period, the most dignified figures, like King Charles in the illustration, continue to wear long gowns—although as the Royal Chamberlain, de Vaudetar was himself a person of very high rank. This abandonment of the gown to emphasise a tight top over the torso, with breeches or trousers below, was to become the distinctive feature of European men's fashion for centuries to come.

Chaucer Geoffrey Chaucer was an English author, poet, philosopher, bureaucrat, courtier and diplomat. Although he wrote many works, he is best remembered for his unfinished frame narrative The Canterbury Tales. Sometimes called the father of English literature, Chaucer is credited by some scholars as the first author to demonstrate the artistic legitimacy reading his work to the court of Richard II, c. 1400

The funeral effigy and "achievements" of Edward, the Black Prince in Canterbury Cathedral Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site, who died in 1376, show the military version of the same outline. Over armour Plate armour or plate armor is personal armour made from large metal plates, worn on the chest and sometimes the entire body he is shown wearing a short fitted arming-coat or jupon or gipon, the original of which was hung above and still survives. This has the quartered arms of England and France, with a rather similar effect to a parti-coloured jacket. The "charges" (figures) of the arms are embroidered in gold on linen pieces, appliquéd In its broadest sense, an applique or appliqué is a smaller ornament or device applied to another surface. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work, generally for the purpose of decoration. The word appliqué is a french word that, in this context, means "that has been onto coloured silk velvet fields. It is vertically quilted, with wool stuffing and a silk satin lining. This type of coat, originally worn out of sight under armour, was in fashion as an outer garment from about 1360 until early the next century. Only this and a child's version (Chartres Cathedral) survive.[22] As an indication of the rapid spread of fashion between the courts of Europe, a manuscript chronicle illuminated in Hungary by 1360 shows very similar styles to Edward's English version.

Edward's son, King Richard II of England, led a court that, like many in Europe late in the century, was extremely refined and fashion-conscious. He himself is credited with having invented the handkerchief; "little pieces [of cloth] for the lord King to wipe and clean his nose," appear in the Household Rolls (accounts), which is the first documentation of their use. He distributed jewelled livery badges with his personal emblem of the white hart (deer) to his friends, like the one he himself wears in the Wilton Diptych (above). In the miniature (left) of Chaucer reading to his court both men and women wear very high collars and quantities of jewellery. The King (standing to the left of Chaucer; his face has been defaced) wears a patterned gold-coloured costume with matching hat. Most of the men wear chaperon hats, and the women have their hair elaborately dressed. Male courtiers enjoyed wearing fancy-dress for festivities; the disastrous Bal des Ardents in 1393 in Paris is the most famous example. Men as well as women wore decorated and jewelled clothes; for the entry of the Queen of France into Paris in 1389, the Duke of Burgundy wore a velevet doublet embroidered with forty sheep and forty swans, each with a pearl bell round its neck.[23]

A new garment, the Houppelande, appeared around 1380 and was to remain fashionable well into the next century.[24] It was essentially a gown with fullness falling from the shoulders, very full trailing sleeves, and the high collar favored at the English court. The extravagance of the sleeves was criticised by moralists.

Headgear and accessories

Man wearing a chaperon, Italy, late 14th century

During this century, the chaperon made a transformation from being a utilitarian hood with a small cape to becoming a complicated and fashionable hat worn by the wealthy in town settings. This came when they began to be worn with the opening for the face placed instead on the top of the head.

Belts were worn below waist at all times, and very low on the hips with the tightly fitted fashions of the latter half of the century. Belt pouches or purses were used, and long daggers, usually hanging diagonally to the front.

In armour, the century saw increases in the amount of plate armour worn, and by the end of the century the full suit had been developed, although mixtures of chain mail and plate remained more common. The visored bascinet helmet was a new development in this century. Ordinary soldiers were lucky to have a mail hauberk, and perhaps some cuir-boulli ("boiled leather") knee or shin pieces.[25]

Style gallery

1 – Braies

2 – Shirt and braies

3 – Servant

4 – Cotehardie and hood

5 – Cotehardie

6 – Huntsman

7 – Walking

8 – Men's gowns
  1. Braies are worn rolled over a belt at the waist. Catalonia.
  2. Shirt is made of rectangles with gussets at shoulder, underarm, and hem.
  3. Serving man wears a knee-length tunic or kirtle with long, tight sleeves over hose. Wears a belt with a waist-pouch or purse. His shoes are pointed. From the Luttrell Psalter, England, c. 1325–35.
  4. Bridegroom wears a red cotehardie, hose, and hood, Italy, 1350s.
  5. Man in a particolored cotehardie of reddish brown and plaid fabric, 2nd half of the 14th century, Catalonia. The cotehardie fits snugly and is buttoned up the front. A narrow belt is worn around the hips.
  6. Huntsman wears side-lacing boots, late 14th century.
  7. Man walking in a brisk wind wears a chaperon that has been caught by a gust. He wears a belt pouch and carries a walking stick, late 14th century.
  8. Older man (chiding an indiscreet young woman, see image below) wears a long, loose houppelande. The fashionable young men wear short gowns, one with dagged edges. The man on the right wears shoes with long pointed toes, late 14th century.

Women's clothing

For hawking, this woman wears a pink sleeveless gown over a green kirtle, with a linen veil and white gloves. Codex Manesse, 1305–40. Women making pasta wear linen aprons over their gowns. Their sleeves are unbuttoned at the wrist and turned up out of the way, late 14th century Many Italian women wear their hair twisted with cord or ribbon and bound around their heads, c. 1380

Underwear

The innermost layer of a woman's clothing was a linen or woolen chemise or smock, some fitting the figure and some loosely garmented, although there is some mention of a "breast girdle" or "breast band" which may have been the precursor of a modern bra.[26]

Women also wore hose or stockings, although women's hose generally only reached to the knee. [18]

All classes and both sexes are usually shown sleeping naked-- special nightwear only became common in the 16th century [27] -- yet some married women wore their chemises to bed as a form of modesty and piety. Many in the lower classes wore their undergarments to bed because of the cold weather at nighttime and since their beds usually consisted of a straw mattress and a few sheets.

Gowns and outerwear

Over the chemise, women wore a loose or fitted gown called a cotte or kirtle, usually ankle or floor-length, and with trains for formal occasions. Fitted kirtles had full skirts made by adding triangular gores to widen the hem without adding bulk at the waist. Kirtles also had long, fitted sleeves that sometimes reached down to over the knuckles.

Various sorts of overgowns were worn over the kirtle, and are called by different names by costume historians. When fitted, this garment is often called a cotehardie (although this usage of the word has been heavily criticized[28]) and might have hanging sleeves. Over time the hanging part of the sleeve became longer and narrower until it was the merest streamer, called a tippet, then gaining the floral or leaflike daggings in the end of the century.[29]

Sleeveless overgowns or tabards derive from the cyclas, an unfitted rectangle of cloth with an opening for the head that was worn in the 13th century. By the early 14th century, the sides began to be sewn together, creating a sleeveless overgown or surcoat.[29]

Outdoors, women wore cloaks or mantles, often lined in fur. The Houppelande was also adopted by women late in the century. Women invariably wore their Houppelandes floor-length, the waistline raising up to right underneath the bust, sleeves very wide and hanging, like angel sleeves.

Headdresses

Northern and western Europe

Married women in Northern and Western Europe wore some type of headcovering. The barbet was a band of linen that passed under the chin and was pinned on top of the head; it descended from the earlier wimple (in French, barbe), which was now worn only by older women, widows, and nuns. The barbet was worn with a linen fillet or headband, or with a linen cap called a coif, with or without a couvrechef (kerchief) or veil overall. [30] It passed out of fashion by mid-century. Unmarried girls simply just braided the hair to keep the dirt out.

A crespine worn by Joan of Bourbon, Queen of France

The barbet and fillet or barbet and veil could also be worn over the crespine, a thick hairnet or snood. Over time, the crespine evolved into a mesh of jeweler's work that confined the hair on the sides of the head, and even later, at the back. This metal crespine was also called a caul, and remained stylish long after the barbet had fallen out of fashion.[31]

Italy

Uncovered hair was acceptable for women in the Italian states. Many women twisted their long hair with cords or ribbons and wrapped the twists around their heads, often without any cap or veil. Hair was also worn braided. Older women and widows wore a veil and wimple, and a simple knotted kerchief was worn while working. In the image at right, one woman wears a red hood draped over her twisted and bound hair.

Style gallery

1 – Italian gowns

2 – Barbet and fillet

3 – Women dining

4 – In a garden

5 – Hood

6 – Italian fashion

7 – Bride and ladies

8 – Houppelande
  1. Italian gowns are high-waisted. Women's hair was often worn uncovered or minimally uncovered in Italy. Detail of a fresco by Giotto, 1304–06, Padua.
  2. Woman presenting a chaplet wears a linen barbet and fillet headdress. She also wears a fur-lined mantle or cloak, c. 1305–1340.
  3. Women at dinner wear their hair confined in braids or cauls over each ear, and wear sheer veils. The woman on the left wears a sideless surcoat over her kirtle, and the woman on the right wears an overgown with fur-lined hanging sleeves or tippets. Luttrell Psalter, England, c. 1325–35.
  4. Woman in a garden on a breezy day. Her kirtle sleeves button from the elbow to the wrist, and she wears a sheer veil confined by a fillet or circlet. Her skirt has a long train. Luttrell Psalter, c. 1325–35.
  5. Illustration from the French Romance of Alexander, 1338–44, shows a woman wearing a red hood on her head and an overgown with vair-lined hanging sleeves or tippets
  6. Italian fashion of this period features broad bands of embroidered or woven trim on the gown and around the sleeves.[32] Siena, c. 1340
  7. A bride wears a long fur-lined gown with hanging sleeves over a tight-sleeved kirtle, with a veil. Her gown is trimmed with embroidery or (more likely) braid. A royal lady wears a blue mantle hanging from her shoulders; her hair is worn in two braids beneath her crown, Italy, 1350s.
  8. An indiscreet young woman wears an early houppelande and poulaines, the long pointed shoes that would be worn through most of the next century by the most fashionable. Her hair is wrapped and twisted around her head, late 14th century.

Footwear

Conservative (left) and high-fashion (right) shoes of the late 14th century Men wear snug boots with cuffs for fencing, late 14th century. These are almost certainly not cuffed boots, but rather hose which have been rolled down over garters. This was common practice during this period for workers.

Footwear during the fourteenth century generally consisted of the turnshoe, which was made out of leather.[33] It was fashionable for the toe of the shoe to be a long point, which often had to be stuffed with material to keep its shape.[34] A carved wooden-soled sandal-like type of clog or overshoe called a patten would often be worn over the shoe outdoors, as the shoe by itself was generally not waterproof.[35]

Working class clothing

Storing olives

Threshing

Cheesemaking

Milking

Fishing

Carrying water

Storing wood

Harvesting grain

Images from a fourteenth century manuscript of Tacuinum Sanitatis, a treatise on healthful living, show the clothing of working people: men wear short or knee-length gowns and thick shoes, and women wear knotted kerchiefs and gowns with aprons. For hot summer work, men wear shirts and braies and women wear chemises. Women tuck their gowns up when working.

See also

Notes

  1. ^ Laver, James: The Concise History of Costume and Fashion, Abrams, 1979, p. 62
  2. ^ Fernand Braudel, Civilization and Capitalism, 15th-18th Centuries, Vol 1: The Structures of Everyday Life," p. 317, William Collins & Sons, London 1981
  3. ^ Singman, Jeffrey L. and Will McLean: Daily Life in Chaucer's England, page 93. Greenwood Press, London, 2005 ISBN 0-313-29375-9
  4. ^ See discussion in Laver: The Concise History of Costume and Fashion
  5. ^ "The birth of fashion", in Boucher, François: 20,000 Years of Fashion, Harry Abrams, 1966, p. 192
  6. ^ Fernand Braudel, Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life," pp. 312–3 and 323, William Collins & Sons, London 1981
  7. ^ Boucher, 20,000 Years of Fashion, pp. 192–193
  8. ^ a b Singman & McLean, id, p. 94
  9. ^ a) Donald King in Jonathan Alexander & Paul Binski (eds), Age of Chivalry, Art in Plantagenet England, 1200–1400, p 157, Royal Academy/Weidenfeld & Nicholson, London 1987 and b) An Introduction to a History of Woodcut, Arthur M. Hind,p 67, Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963 ISBN 0-486-20952-0
  10. ^ Donald King in Jonathan Alexander & Paul Binski (eds), op cit, p 160
  11. ^ id, p. 95
  12. ^ Koslin, Désirée, "Value-Added Stuffs and Shifts in Meaning: An Overview and Case-Study of Medieval Textile Paradigms", in Koslin and Snyder, Encountering Medieval Textiles and Dress, pp. 237–240
  13. ^ Black, J. Anderson, and Madge Garland: A History of Fashion, 1975, ISBN 0-6880-2893-4, p. 122
  14. ^ Crowfoot, Elizabeth, Frances Pruchard and Kay Staniland, Textiles and Clothing c. 1150 – c. 1450, Museum of London, 1992, ISBN 0-1129-0445-9,
  15. ^ Georges Duby ed.,A History of Private Life, Vol 2 Revelations of the Medieval World, 1988 (English translation), p.571, Belknap Press, Harvard U
  16. ^ Netherton, Robin, "The Tippet: Accessory after Fact?", in Robin Netherton and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles, Volume 1
  17. ^ Favier, Jean, Gold and Spices: The Rise of Commerce in the Middle Ages, 1998, p. 66
  18. ^ a b c d e f g Singman and McLean: Daily Life in Chaucer's England, p.101
  19. ^ There is a famous surviving example in the Textile Museum at Lyon, called the "Pourpoint of Charles of Blois". It is made of highly tailored silk brocade (a total of twenty pieces of the brocade) with gold threads and lined with linen canvas. It is quilted throughout, probably stuffed with cotton. Description and photos and another photo, several in colour. Archived 2009-10-19.
  20. ^ id. p. 97
  21. ^ Continuation of chronicle of Guillaume de Nangis, Archives Nationales, Paris. Quoted in: Fernand Braudel, Civilization and Capitalism, 15th-18th Centuries, Vol 1: The Structures of Everyday Life," p. 317, William Collins & Sons, London 1981
  22. ^ Claude Blair in: Jonathan Alexander & Paul Binski (eds), Age of Chivalry, Art in Plantagenet England, 1200–1400, Royal Academy/Weidenfeld & Nicholson, London 1987, p 480.The effigy and arming-coat of the Black Prince
  23. ^ Barbara Tuchman;A Distant Mirror, 1978, Alfred A Knopf Ltd, p456, quoting Vaughan's biography of Philip.
  24. ^ Laver, Concise History of Costume and Fashion
  25. ^ Claude Blair, in Alexander & Binski, op cit pp 169–70
  26. ^ Singman and McLean: Daily Life in Chaucer's England, page 98
  27. ^ History of Nightwear (German)
  28. ^ La Cotte Simple
  29. ^ a b Payne, Blanche: History of Costume from the Ancient Egyptians to the Twentieth Century, Harper & Row, 1965
  30. ^ Laver, James: The Concise History of Costume and Fashion, Abrams, 1979;
  31. ^ Payne, History of Costume
  32. ^ Boucher, 20,000 Years of Fashion
  33. ^ A Practical Guide to Reproducing 14th Century Shoes
  34. ^ Singman, Jeffrey L. and Will McLean: Daily Life in Chaucer's England, page 114. Greenwood Press, London, 2005 ISBN 0-313-29375-9
  35. ^ id. p. 116

References

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