During the 12th century, if not slightly earlier, Western Europe lived through a period of economic and social upheaval termed by many historians the 12th c. Renaissance. One of its aspects is related to the considerable emancipation of women mostly in Southern France, a development which spread over to Italy, Flanders, and later, England. One can even detect social zones where real emancipation was achieved.

One of the things that I really like about the 13th-early 14th century are the many varied ways to wear you hair - and headwear. Contrary to popular ideas hair was not always totally cover4d, not even on married women. I've written some about it on the page about my 13th century outfit with a Barbie pink gardecorps, but I thought that it would be nice with a blog post which focuses on this and show some more period examples. Unmarried women I'll start with (presumably) unmarried women, who are often seen with their hair hanging or, much more rarely, braided. Braid with gold ribbons and a circlet from the end of the 13th century, ow maybe her hair is just wrapped in ribbons and not braided. In any case it's not hanging loosely. Lausanne, Bibliothèque Cantonale et Universitaire U 964 - Biblia Porta fol. 178r On of the young women ion this awesome French 13th century image of the Devil tempting both sexes to have fun same-sex sexuality, also has a single braid or possibly unbraided hair wrapped in ribbons. Wavy/slightly curly hair was popular. Here with a circlet. ca 1300. Codex Manesse/Grosse Heidelberger Liederhandschrift Here we see mother and daugher, showing the difference between a married woman with her chin strap and fillet and the daughter with a circlet in gold, tied with red ribbons. Codex Manesse/Grosse Heidelberger Liederhandschrift Loose hair and circlets in France c 1250. The Maciejowski Bible It is of course hard to be sure about the marital status of all these women, but this woman wearing a hairnet is also probably unmarried, like her friends, since she's wearing only a circlet with her hairnet. It appears that the white wavy fillet and chin strap was a thing for married women. And don't be fooled by all the women with white fillets and/or veils being courted by knights - adoring a married woman was a thing in Courtly Culture. (A book tip: Courtly Culture by Joachim Bumke, a German historian. It is really,really good.) This image show the death of Nabal and what I presume is his wife and daughter, indicating that the white cap today mostly referred to as the St. Birgitta cap, was worn also by unmarried women. You also see that already in France c. 1250 married women wore a chin strap and fillet with loose hair under it. But, really, "everyone" already knows that unmarried women wore their hair uncovered in the Middle ages. The most interesting thing may be the image of the woman at the top with her hair braided in one single braid. This is not a style that we generally associate with the 13th and early 14th century, and one that I will get back to now that I turn to the married women. Married women I promised myself that this post wouldn't be about veils, so I will try to refrain from showing images just because I like the veils, filelts or chin straps. there has to be some hair too. We have already seen that a white fillet, often with a wavy or decorated edge (I write more about that here) was worn by many women together with either a chin band/barbette, or maybe a Birgitta cap under it; the image above could for instance show a cap insted of a strip of linen. On the other hand there are written sources telling about long strips of linen, called gebende, wound many times around the head (Bumke 2000 p 152) and the image may well show this instead. This is a lovely detail shot of Markgrafin Uta from the Naumburg cathedral, showing her wide gebende decorated with gold, but also some of her wavy hair at the temples. Photo from Wikimedia commons A much less well-known figure from the same cathedral is countess Gerburg von Brehna. She's not as pretty, but she has a braid! So, like Uta she has a crown with a pill box cap, a gebende wrapped around her head, and wavy hair showing at the temples, but, since we can see her from the side we also see that she has a single braid hainging down her back. Furthermore, if you look at my favourite of the Naumberg ladies: the happily smiling Reglindis you see that she also probably has a hanging braid. Image from wikimedia commons Oh, what I would give for a side view of Uta's head :) Narrower chinstraps were worn with a fillet and hanging hair as you have seen in the example of the motehr and daughter from the Grosse Heidelberger Liederhandschrift above. The Weingartner Liederhandschrift, which is contemporary to it, but much less fancy seem to favour a slightly...sloppy approach to the white linen fillet. Image from wikimedia commons You also find many examples of hanging hair under a veil in the Grosse Heidelberger Liederhandschrift. With veil and a circlet on top of it. And another one: And one with a pink veil draped over what appears to be a gold coloured band of some kind. No chinstraps as you can see on these images, but veils indicating married status anyway. Hair nets came in many colours, and were frequently worn with chinstrap and white fillet. Two examples from the Murthly Hours, a French mansucript fro the 1280s, show a green and a blue net respectively. And we also see that while prossibly shaped it is defintiely not a cap the woman with the green hairnet is wearing, which makes it less likely that it's a cap in the image of Nabal's death from the Maciejowski bible, since it looks just the same, except that we can't see the top of her head. Detail from fol 6 recto This is a gorgeous manuscript, which can be seen in its entirety at the web site of the national Library of Scotland. Lots of inspiration for illumination there. Another be-netted, fillet wearing...snake. From MS K26 at St.John's College, Cambridge. And a Norwegian early 14th century example, showing decorated hairnet, chin strap and fillet. So, hairnets are definitely an option, for married as well as for unmarried women - there are also quite a few of them preserved. This one is from the church of St. Truiden in Belgium, dated to the 13th century (link to museum site): And the same goes for this one, from the cathedral of St. Paul (link to museum site). As you see, they are first knotted and then embroidered. I'm ending this post with an image from the Rheims Missal 1285-1297, showing maybe a "Birgitta cap" with a fillet with wavy or dagged edge and a gebende. And wavy hair at the temples.

When looking at images of 14th Century Italian hairstyles a couple of styles are definitely more prevalent, hair that is braided or wrapped with ribbons or cloth and then wrapped around the head. W…

I'm full of plans for a new gown, based on a series of illuminations in the Taymouth Hours, a manuscript from early 14th century England. The illuminations that caught my eye feature a series of noblewomen hunting with everything from dogs to nets to bows to hawks. In the main manuscript, these illuminations start around page 68. In these four close ups, you can see the gist of the style. There's a long, tight sleeved gown, with a shorter, split sided, tippeted (if it's not a word, it should be) overdress. Several of the ladies have fur lining in the overgown, and several wear veils. One has a hood folded and set aside on a hawk's perch. The expression on the rabbit's face in that last one cracks me up every time... Planning for this gown is underway - I've got some lovely linen in a gorgeous mid blue, and a fantastic brick red, though I'm still deciding between a blue over red color scheme, or red over blue. The current tangle is figuring out construction and fit of both dresses. The overdress seems fairly loose and flowing all over, but it looks to me like the bodice of the undergown would be fairly close fitting, with very tight fitting sleeves. Blocking out a general pattern is next, and then the fun of a more exact draft. My goal is to have this dress completed by Crown List in May, which is incredibly ambitious between my field work for my degree, and wedding planning (June 18th can't get here soon enough!). We'll see how much I can get done, though!

Here's a lengthy post full of pictures of my new blue silk cotehardie worn over a gold silk kirtle. I started working on it about ten...

I’ve begun to compile my own hair kit for 14th and 15th-century rievocazione. I have: a sandalwood comb, an ivory stylus, a bone bodkin, false and real hair (both braided and twisted as found…

As I promised earlier, I scanned some of the best of the paper dolls to visually show the styles of the nobility/middle class from around 1200-1450 in Western Europe, especially England and France.…

The One True Century called, and it would like you to hear the good news about many potential new projects. Herein I will address both fashions which were uncommon in period (~1330-1410) as well as fashions which were more popular in period, but are rarely seen in recreations today. This list may sprout additional fashions or illustrations in the future. Uncommon in Period Two charming styles of headdress show up occasionally: the bycocket (Prince Phillip and Robin Hood's standard issue hat) and the wimple without a top veil. The bycocket is more commonly seen on men, and as we know from my class "Drunken, Foolish, and Witless Women," masculine styles were daring fashion for women, and if too many were combined in one outfit, could be positively skanky. (Bartolo di Fredi, Abraham and Lot separating in the Land of Canaan, fresco, Duomo, San Gimignano, mid-late 14th c) St Helena, detail from Discovery of the True Cross,1380s Italian Similarly, the wimple alone is conspicuously lacking the more common veil over the wimple arrangement, leaving the hair uncovered on top in an immodest fashion. Some of the examples wearing this style are women of questionable virtue, such as Delilah, shearing the hair of Samson. Breviarium ad usum fratrum Predicatorum, dit Bréviaire de Belleville. Bréviaire de Belleville, vol. II (partie été) Auteur : Jean Pucelle. Enlumineur Auteur : Maître du Cérémonial de Gand. Enlumineur Date d'édition : 1323-1326 Egerton 881 f.128v c. 1380 French Go look at all of Pinterest's 14th century images (I'll wait) and you will see a peculiar-seeming lack of necklaces. They just weren't that popular until ~1400, and even then many ladies aren't depicted in necklaces. I can only make educated guesses as to why this is. Necklaces may have been seen as too much conspicuous consumption, an unnecessary vanity that, piled on top of all the rich garments and jewels a lady might have on, was sinfully vain and wasteful. They may have just been unfashionable, too likely to be covered by wimples and hoods while they were popular, and only appeared when the wimple and closed hood had been rejected by fashion. It would be spectacularly pointless to own expensive jewels, only to cover them with most of your outfits. When the high-necked houppelande, which covers the neck and bosom unlike the lower-cut surcotes, appears, necklaces appear at about the same time - it would be perfectly modest to wear a necklace over your super-covering dress, and then you owned it already and could wear it with lower-necked garments. Tacuinum sanitatis (Muckley) c. 1386 BNF Français 343 - Queste del Saint Graal / Tristan de Léonois f3v, Milan, Italy 1380 - 1385 Tacuinum Sanitatis, c. 1370-1400, Italian Missale et Horae ad usum Fratrum Minorum (1385- 90, BNF Latin 757, 258v.) Italian Now I will present all of the images I have of women wearing garments buttoned all the way to the floor. Spoiler: There's not a lot of them. Buttons much more commonly went down as far as the pelvis, closing an opening big enough to easily dress and undress through without having to spend more money and time on buttons down the skirt front. Buttons were frequently listed in royal accounts as separate jewelry, and may have been detachable from garments (there's many sets of 24 buttons mentioned a part of jewelry collections) which made it advisable to have 24 buttonholes on all of one's clothing. This efficient idea meant that one could have some very, very fancy buttons as they could be worn with multiple surcotes. 1385 English, wife of Reginald Malyns tomb of Francois I de la Sarra, Swiss, 1390 wood effigy in Collégiale de Neuchâtel, late 14thc Swiss Speculum humaniae salvationis, Lamech tormented by his wives, 14thc German (SOMEONE FIND ME THIS SOURCE PLEASE.) Possibly c. 1380 French or English. Also featuring the fur hat mentioned below Again referencing those drunken, foolish, and witless women, dags were more of a masculine than a feminine fashion. It was daring or positively scandalous for a woman to have too much dagging on her garments because of this association. Here are some examples of dags both subtle and ludicrous. Aquamanile in the Form of Aristotle and Phyllis, late 14th c, S Netherlandish Hecyra, a courtesan, Terence des Ducs, circa 1405 - 1410 (Bibliotheque de l'Arsenal, Ms. 664, ff. 85 V., 209v.) Woman in dagged hood. French c. 1400. MS M.0346 fol 003v. Das Schachzabelbuch, early 15th century. British Library, London, UK, manuscript Add. 11616, folio 5v. Tacuinum Sanitatis, Lombardy 1390s? BN MS nouv. acq. lat. 1673 f.52 Uncommonly Recreated Formal apparel for the highest noblewomen was often more matchy-matchy than we like to dress as reenactors. The suit, a set of up to 4 matching garments (cote, surcote, hood, and/or mantle) was wildly popular, often being commissioned for extremely formal events, such as weddings, christenings, and churchings. The garments could then be worn in various combinations with the rest of one's wardrobe for a higher contrast look. It's much easier to find textual mentions of these, so here are some examples from Fashion in the Age of the Black Prince: p. 34 "a suit of dark blue - ynde - velvet of particular magnificence was made for her (Queen Philippa) to wear. It consisted of a mantellium (mantle), capa (hood), open super tunic (surcote) and tunic (cote) embroidered with gold birds, each bird surrounded by a circle of large pearls, the whole background powdered with a pattern worked in silks and small pearls and enlivened by 10,000 doublets (faux gems)" (c. 1348) "the queen's suit was again made of velvet, and again it was embroidered in gold, silk and pearls. This time the design consisted of oaks and other trees, beneath each of which was a lion, worked in large pearls, and again the whole ground was covered by a fine embroidery in silks and small pearls." (c. 1348) p. 33 "a tunica (outer dress) and mantilletum (mantle) of heavy quality rakematiz, which was a thick imported silk woven with gold" for the wedding outfit of Princess Joan (wedding outfits often include only dress and mantle) "but she also had a whole suit made of the same stuff" "a suit of red velvet" again for Joan Detail of a miniature of the marriage of Philip, the Duke of Burgundy, and Margaret of Flanders from the Chroniques de France, Paris after 1380 I have already pontificated on my theories of what the heck that "corset" thing is. I don't see too many of them being worn around (that I haven't directly pushed on people) because of their relative unpopularity in art, being less formal garments that patrons of art would consider too casual for fancy depictions of themselves. The "hunting surcote" and "Coat-Thing" models are both wonderfully practical. Images of these styles are in the corset writeup. Behold, the CUFFS OF DEATH. These ridiculously long, full extensions of the cote sleeve are so fabric-consuming and hand-impairing that it is no wonder few people bother to inflict them on themselves, but they were all the rage c. ~1390-1420. Note that they flare from the wrist and are not "angel" sleeves hiding under the sleeves of the surcote. Giovanni Boccaccio, De Claris mulieribus, traduction anonyme en français Livre des femmes nobles et renommees Auteur : Giovanni Boccaccio. Auteur du texte Date d'édition : 1403 Tres Riches Heures, May detail, French 1412-1416 Another outerwear option for the wealthy is the pelicon, a garment popular in the earlier half of the century. It is what happens when a hooded cloak has a baby with a poncho, which then grows to magnificently impractical proportions. Queens saw fit to be depicted in these, as their super-inefficient cut was both expensive and impractical enough to scream "I'M SWIMMING IN MONEY." Joan of Burgundy, French, 1st half 14th c 3rd from left is Isabella of france, shown with her father Philip IV and family. French c 1313 The fur hat that turns up pretty frequently in Black Prince also appears in a few illustrations, though the illuminators don't bother to depict the insane amount of decoration that they could sport. These hats, made for the wealthy out of beaver fur, are another fashion worn by men, but seem to have not been too masculine as to be scandalous when combined with an otherwise proper outfit, as the princesses of England received these hats. Roman de la Rose, c 1380 Le Remède de Fortune, Guillaume de Machaut, 1350, French, BNF Ms. Fr. 1586 f.23

I thought thought that I would share with you how I put on my veil and wimple, my modern me have short hair, bangs and piercings, very non medieval of me. I start of by braiding the front part of m…

This is the third post on figuring out which hats go with which outfits, or at least that is how the idea started. I wanted to look more period, and one way to do that is by wearing the appropriate…

The diversity of styles and colors of headgear increased greatly in the 1300’s. Although there are still uncovered heads shown in the manuscripts, it really does complete the outfit more when…

When looking at images of 14th Century Italian hairstyles a couple of styles are definitely more prevalent, hair that is braided or wrapped with ribbons or cloth and then wrapped around the head. W…

One of the most beautiful accessories to your 14th century outfit in my opinion, is a proper hood! It’s a very easy pattern to make witch let you have some more time for decoration! My noble …

By Pauline Weston Thomas for Fashion-Era.com EDWARD THE THIRD Reigned fifty years: 1327-1377.Born 1312. Married, 1328, Philippa of Hainault. This costume history information consists of Pages 102-121 of the chapter on the 14th century dress in the 50 YEAR REIGN era of Edward The Third 1327-1377 and taken from English Costume by Dion Clayton Calthrop. …

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в жизни средневекового человека книга была драгоценным сокровищем, которое годами создавалось кропотливым трудом переписчиков и художников в глубинах монастырей, знание в ней заключающееся было доступно избранным. не только по содержанию, но и по оформлению книга представляла собой штучное,…

The diversity of styles and colors of headgear increased greatly in the 1300’s. Although there are still uncovered heads shown in the manuscripts, it really does complete the outfit more when…