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…

Honor Before Victory. Living in the Current Middle Ages with the Society for Creative Anachronism (SCA) ~ By Gregor and Genoveva

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…

Period Head Coverings Or alternately, What Hat Goes with My Outfit? 13th Century This post comes from a class I taught. It evolved from me standing in front of the mirror, event after event, trying…

Time for another hairnet, again from the treasure of Abbey Sint-Truiden in Belgium (Dutch Wikipedia Entry about it) . This net has large me...

Period Head Coverings Or alternately, What Hat Goes with My Outfit? 13th Century This post comes from a class I taught. It evolved from me standing in front of the mirror, event after event, trying…

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 wrote before about my new project, a pink wool dress for scumming about camp in when it's cold and/or wet (as it so often is when reenacting in Wales...). Having found my inspiration, the next thing to do was to find a cutting pattern. When I made my first dress, I just used a variant of the 'rectangles and triangles' method which is espoused by my reenactment group. For my wedding dress, being all posh and fancy, I tried something based on the Gothic Fitted Dress theory of Robin Netherton and Tasha Kelly. This time, I wanted to try something that is actually based on archaeology. So, I went for a spin through the Kyrtles/Cotes/Tunics/Gowns section of I. Marc Carlson's 'Some Clothing of the Middle Ages: Historical Clothing from Archaeological Finds' website. One of the first things that became apparent was that almost all of the finds listed have side gores which reach up to the armpit. The only ones that do not are two children's garments from Herjolfsnes (Nørlund #61 and #62), the Bocksten Bog Man's tunic, the Kragelund tunic and the Skjoldehamn tunic - the former two have gores at centre-front and centre-back which are inserted at waist height, whilst the latter three have gores at these points, plus similarly sized gores at the sides. One could argue that the style with full-length side gores is an earlier style, which disappeared with the 14th Century revolution in fit and only remained in obscure outposts on the fringes of Europe where life was a daily struggle and news of any sort, never mind up-to-date fashion, arrived decades late if at all (i.e. Herjolfsnes, Greenland). This is an entirely plausible argument. However, as I said before, this is my inspiration: Haine (Hate), Felonie and Vilanie. Roman de la Rose, c. 1365, France. University of Chicago Library, MS 1380, f. 2r. Although this image is from the 3rd quarter of the 14th Century, the costume is nearly identical to that used over 100 years earlier: Rebekah dresses Jacob in Esau's clothes. Maciejowski Bible, c. 1250, France. Morgan Library, MS M. 638. Source. Note how loose and unfitted the dress is in the torso. It is kirtled up over a hidden belt, just like those of Haine, Felonie and Vilanie. Also, like them, it has sleeves which are loose in the upper half and fitted in the lower half. Even her wrapped headdress is nearly identical to that of Felonie. The only visible difference is the open armpit in Rebekah's dress, a feature seen in several dresses in the Maciejowski Bible, which permits the wearer to slip her arms out and, once the sleeves are tied behind her back, essentially have a sleeveless dress. However, as far as I'm aware, this feature is only seen in the Maciejowski Bible. Anyway, I personally think the similarities far outweigh the differences. It is enough to convince me that this style of garment lasted long past the point it was fashionable, past the 'fit revolution' of the mid-1300s and into the latter half of the 14th Century, not only in remote regions but also in France and likely in England too. There it was likely relegated to the old, the unfashionable and most of all the poor. Certainly, in such cultural backwaters as rural Wales, I think the argument for the old-fashioned, unfitted dress is quite strong. Equally, I think it is plausible to conjecture that with the old styles, the old cutting patterns were retained for this sort of dress. ...that is how I rationalised it to myself, anyway. ^_^ So... a dress with long gores running from armpit to hem. The obvious choice for archaeological inspiration was Greenland, not only because there are more garments than anywhere else, but also because there is not one but two English-language books and, as I said before, I'm an ignorant monoglot. First, was the choice between a "12 gore gown" or an "8 gore gown" (the "10 gore gown" being a myth based on a mis-reading of Nørlund's pattern diagrams for gowns #41 and #38). I chose an 8 gore version as a) there are more 8-gore garments than 12-gore garments in the Greenland finds, but also because b) it would be a lot easier to fit. Initially, I went for Nørlund #39: Nørlund #39, from Herjolfsnes, Greenland. Radiocarbon dated to 1380-1530. Pattern drawing by I. Marc Carlson, based on Nørlund. Source. Nørlund believed this to be a woman's garment. Also, I liked that the two side gores are not simple right-angle triangles - rather, the entire torso section is quite rectangular, only flaring out from the waist down (this is not terribly clear on Marc Carlson's re-drawing). The originals were, in fact, cut not as two triangles but as two trapezoids with two small rectangles sewn on top. However, the more I looked at the measurements, the more I couldn't rationalise it to myself. In particular, this: length from shoulder 123cm, chest circumference 102cm (Medieval Garments Reconstructed', Fransen, Nørgaard and Østergård). Now, I'm 5'5", maybe UK size 10-12 but busty. The average medieval woman was around 5'2" (depending on which burial ground analysis you go by) and I'm suspecting at least those living in Greenland were fairly malnourished and slight. A 102cm chest is, to put it mildly, enormous even on me. Equally, a 123cm length is a little short (bang on mid-calf length on me). So, in short, I suspect this was not a woman's garment. So, I turned to the other garment I'd been eyeing, Nørlund #42: Nørlund #42, from Herjolfsnes, Greenland. No radiocarbon dating. Pattern drawing by I. Marc Carlson, based on Nørlund. Source. Nørlund considered this to be a man's garment because of the relatively long sleeves and the fact that the pocket slits are low, at the middle of the thigh. However, I think the width-to-length ratios are much more plausible for a women's garment: length from shoulder 123cm, chest circumference 79cm. With a modern bra, my widest bust circumference is about 90cm, so I think it is plausible that a woman who was a few inches shorter, a few cup sizes smaller and rather less well fed than I am would fit this garment. Also, the sleeve length is 54cm. My sleeve length should be about 56cm. The adults' long-sleeved garments listed in 'Medieval Garments Reconstructed' have sleeves of 50-59cm length. So, the sleeve length is neither implausible for a woman, nor is is really "relatively long" compared to the other Greenland garments. Finally, the pocket slits. Reading from the cutting diagram in 'Medieval Garments Reconstructed' it is 44cm from the shoulder (give or take, considering the drape of the gore). Now, on me that hits smack-bang on the navel. Certainly not mid-thigh length. On the average height medieval man (5'7") the pocket slits would be in line with the base of the sternum - comically short. It rather makes me wonder whether Nørlund managed to take proper measurements of the garments at all. (A final, final point is one that my husband made: the gore shapes. Men, in general, have a more consistent circumference between armpit and iliac crest. This is particularly true of men who do lots of physical labour and heavy lifting (farmers, quarrymen, builders, etc.), who often develop a barrel-shaped torso. Women, in contrast, generally have torsos that vary in circumference - particularly women who do not wear bras and/or women who need to accommodate pregnancies. This could account for the rectangular shape of the torso part of the gores in #39 vs. the near-right-angle-triangle shape of the gores in #42.) Anyway, that's my argument that Nørlund #42 is a woman's garment and that it's a good garment for me to base my dress on. What do you think?

Decretum (GratianusBartholomaeus Brixiensis (commentateur))

Weaving, textiles and crafts

The one person given both the monikers, "father of Humanism" and "father of the Renaissance," by historians is none other than Franceso Petrarca (or Petrarch in English) Petrarch was an Italian writer who gave us the lyrical poem, the sonnet, as we...

Some headdresses from the late Middle Ages are iconic, such as crespinettes and the hennin, and while these styles certainly made their mark on medieval fashion, they were fleeting trends. When we look beyond these icons, we can see that other styles were more popular, worn for a much longer period, and more influential in their long-term use. The open hood is one such headdress. Detail from the Albrecht Von Rapperswil page of the Manesse Codex (Cod. Pal. Germ. 848), c. 1320. Though women had been depicted wearing hoods since the 13th century, the distinctive open hood did not appear until the early parts of the 14th century. One of the first instances appears in the Manesse Codex, a German anthology of poetry produced around 1320 (left). In this example, we see a lady wearing a veil with an additional head piece placed over it. It appears to be a long, rectangular coif, and is completely open in the front. The edge has been folded back to reveal a fur lining, while the exterior is a bright red. The point of this piece, simple as it is, appears to be to provide an additional layer on the head without affecting the veil beneath it. In the 1320's, hoods for both men and women were one of two versions. The first, and older version was closed in the front below the face opening, requiring it to the pulled on over the head. The second was a fitted version that buttoned closed in the front below the face opening, and was tight against the neck. While the buttoned hood lent itself well to pulling on over other headdress, it was not truly practical for such an application since it didn't leave any room for the extra bulk of a veil. The concept of treating a hood like a slip-on coif was seemingly born out of necessity. Nearly all of the earliest examples of open hoods are worn over veils. Detail from fol 33r of the Luttrell Psalter (BL Add. MS 42130), c. 1330. Since regular hoods at this time had already been subject to the fashionable trend of stylization and fitting, namely in the attempt to more closely match the shape of the head and neck, it's no surprise that these new open coif-style hoods would be subject to stylization of their own. The first development was the introduction of a small nub, or "tippet" at the crown. The tippet, best seen on the open hood worn by an older woman working a field in the margins of the Luttrell Psalter, circa 1330, stuck up and slightly forward. To achieve the tippet, as well as a more graceful fit compared to the rectangular hood seen in the Manesse Codex, the hood can be cut as two identical pieces and sewn together over the top and back, around the tippet. There is little evidence to suggest that the early tippet was anything more than a nub, which may have been stuffed to give it shape and lift, but it's easy to create unique and distinguishing curled tippets since the top of the hood is a seam and not a straight fold. A subtle curve in the back seam creates a fitted look. The length of the 14th century open hood appears to be just to or a few inches passed the shoulder. Detail from fol. 117v of the Roman de la Rose (Bibliothèque Sainte-Geneviève, Ms 1126), mid-14th century. Gradually, as the 14th century continued, the hood's tippet started to gain length. Regular hoods worn by men in the second half of the 1300's usually sported a long streamer from the crown, called a liripipe. As fashion trends after the 1350's included elements of elongation, the liripipe stretched further and further down, eventually requiring that it be tuck into the belt to control its length. As the liripipe grew longer, so too did the tippet on women's hood. Eventually, by the 1370's, the tippet was around 5" long and rested flat on the top of the head. Detail from fol 29v of the Epistle of Othea (BnF MS French 606), very early 1400. By the time this new, long tippet fashion occurs, the open hood had been abandoned by the noble classes and adopted exclusively by women in the laboring classes, seen often on older women, particularly midwives. They were also worn with their fronts folded back, similar to the style seen in the Manesse Codex. After the 1390's, the tippet had grown long enough that it became impractical, and it was traded for the longer, more fashionable liripipe. For the working class, these longer liripipes could act as a turban-like band that, when wrapped around the head, held the hood in place more securely. There may have been a few styles of liripipe that encased the wearer’s hair, (pulled into a braid at the crown of the head) but there are also several examples of a separate liripipe attached to the hood at the crown that would have made such a usage hard to achieve. Detail from fol. 143 of the De claris mulieribus (BnF MS French 598), c. 1403. The folded front edge also underwent a transformation by turning into a brim that could be worn folded back (which is seen most often) or left unfolded like a brim on a modern ball cap. The brim also sometimes appeared to be wired or stiffened to hold an outstretched “wing” shape. The way in which a woman is represented wearing her hood brim is likely a matter of personal choice (or artistic whim), rather than symbolic of position or occupation. Detail from the September page of the Tres Riches Heures du duc de Berry (Musée de Condé Ms. 65), c. 1485 The open hood was the style of the lower class for matters of functionality first and foremost. The hood was a practical garment. For women working in the field or performing their daily outdoor tasks, the hood provided protection from the elements. In the winter, the hood offered warmth, while in the summer, it offered protection from the sun. By being open, it was easy to remove if it became a burden to wear, and was equally easy to put back on when needed. The woman could wear a coif or veil to hide her hair, and the hood would not displace it. This practical use of the hood is seen in many illuminations, including the famous Tres Riches Heures du duc de Berry, circa 1414 and completed circa 1489. Detail from fol 211v of Le Decameron (Arsenal MS 5070, reserve), circa 1432. In the 2nd quarter of the 15th century, women in the growing middle class would also wear the open hood in more social contexts. This is probably an awkward practice started by poor middle class women who were unable to wear the more fashionable headdress of the wealthier classes, but who could wear the open hood. For them, the context in which they wore it was the delineating factor between them and those poorer than them. Some great examples of women wearing hoods in a variety of secular, social contexts can be found in Le Decameron, produced circa 1432. Quickly, the open hood became a typical headdress style for nearly all women lower than the noble classes, and was so widely used that even lower-ranking ladies in waiting were often depicted wearing an open hood rather than the more formal veils or hats of the upper class. Detail from Deposition by Rogier van der Weyden, circa. 1435 In some fictional, literary or biblical contexts, the hood was used to symbolize a supposed class of the wearer, when in fact no class truly existed for them. In these situations, the hood acts as an equalizer- giving the wearer a "regular Jane" persona that would have made her accessible to any level of society. Often, such as in the works of Rogier van der Weyden and other Flemish painters, the hood is styled as a chaperone, possibly to be reminiscent of a middle eastern turban. Since the liripipe could be cut either separate or along the fold, the 15th century hood has more in common in its construction with the regular hoods of the time. Using a folded piece of fabric, and orienting the center top to it, allowed the hood have only a single seam up the back. Additional gussets made have also been used at the shoulders. Since the later open hood sported a short flare at the base of the neck, partially covering the shoulders, gussets would have been the only way of creating the curve. The front of the hood, at the face opening, would have also required some extra length and shaping to achieve the wing-shaped brim. Detail from fol. 37v of the Roman de la Rose (BL Harley 4425), c. 1490. Toward the end of the 15th century, noble women were depicted wearing modified open hoods which may have developed with the introduction and eventual disappearance of the conical hennin. Some fine examples of this style are seen in the Roman de la Rose, circa 1490. Back in the 1460's, hennins started to sport long brims, called lappets, that did not appear to be part of the hennin itself, but rather as a piece worn under it. The shape of the new noblewoman's hood was remarkably close to the lappet, but with definite elements borrowed from the open hoods worn by lower class women. Rather than a liripipe, these later hoods had a flap, a cap-like shape, or looked like a cut off liripipes was tacked down on the top of the head. It's easy to suppose that these hoods had been borrowed from the peasant class, re-purposed under hennins, and eventually worn alone as the hood started to die out as a fashion worn by the lower classes. Portrait of Elizabeth of York, c. 1500. By the time the 16th century rolled in, and fashion everywhere was subject to the sweeping changes that came with the Renaissance, the hood had already enjoyed nearly 2 centuries of popularity. When upper class women started to develop new hat styles in the time of the War of the Roses, hoods seem to have offered inspiration, lending their general shape to structured headdresses such as the gabled hoods worn by the Tudors. Hood color also bears mention. By far, the most common color is red. This may be simply because red was an easy pigment to procure, but more likely, red is so often shown because it truly was more often worn. In the middle ages, the color red was said to ward off evil, and specifically for women, it was worn and used as protection against miscarriage. Besides red, pink, blue (a vibrant royal blue), green and black are the next most popular colors. Yellow is rarely seen. There is some indication in 14th Century English sumptuary law that prostitutes were required to wear yellow hoods in public. It is unclear if this statute was still in place during the height of the open hood's period, but the association certainly would have still been around. Yellow was also sometimes considered to be a sickly color, and was not popular eve for other garments. Color, same as style, appears to be a matter of choice rather than a dictate of occupation. The later hoods worn by nobles are almost exclusively black. When it comes to material, it is hard to tell from the artwork which type of fabric was used. Extant hood examples, though not of the open hood type, are made of wool. Hoods are often depicted with an interior of the same color, though not always the case, so there is little to prove that all hoods were lined. Given the use of wool, linen and silk in other garments of the era, it can be assumed that hoods would have used the same fabrics. A linen hood is easier to wear in summer, but wool offers more of the structure and weight seen in the artwork. This would appear to be, for recreation purposes, a matter of personal preference. Detail from fol. 186r of Les Cent Nouvelles Nouvelles (MS Hunter 252), c.1500. A cap or veil worn below can proved areas to pin the hood into place, and if you’ve chosen a long liripipe, tucking it into your belt will prevent you from sitting on it. They are also extremely versatile, working in both hot and cold weather. They are also perfect for those times when you don’t have anything else to put on your head, helping to round out your medieval look. For a more in-depth look at the 15th century "winged" hoods, please check out my post here. For the pattern, measurements and construction notes for my first two hoods, download the PDF. For the walk-through of my red wool open hood, see this post. For the walk-through of my red and blue transitional hood (and a hood timeline), go here.

A partir de la segunda mitad del siglo XIII el hombre casi siempre lleva la cabeza cubierta. El cabello rubio (y por lo tanto el uso de tintes) se va haciendo cada vez más frecuente (página web muy interesante sobre cómo se teñían). Se estila la melena corta y rizada. Llega la moda francesa del flequillo formando bucles o ricitos (copete o tapet), aunque se mantiene el flequillo liso más o menos abundante. La barba irá desapareciendo entre la gente joven. Melena corta cubriendo las orejas, flequillo liso o rizado. 1280-85. Cantigas de Santa María de Alfonso X el Sabio, Biblioteca del Monasterio de San Lorenzo de El Escorial, Madrid (detalle) Cabello largo, trenzado. Finales XIII, Adoración de los Reyes Magos, Iglesia de la Asunción de Navasa (Huesca), Museo diocesano de Jaca, Huesca (detalle) (imagen obtenida aquí) Media melena terminada en bucle, con volumen, dejando visible las orejas; rizado el flequillo. Finales XIII, escuela franco-aragonesa, el asesinato del emperador Domiciano (detalle) Mujer: también irá tocada, excepto las doncellas que van "en cabello". Se estila la melena corta con raya en medio con algo de volumen, más o menos lisa o rizada, generalmente ocultando las orejas. También la melena larga. No he encontrado imágenes de otro peinado que sí se indica en los textos: uno formado por dos trenzas que se cruzaban por detrás de la cabeza y se llevaba hacia delante prendiéndose los extremos. Se habla incluso de más de dos trenzas. Seguramente no sería muy popular. Otro fue el enrollar las trenzas sobre las orejas a modo de rodete que casi siempre quedaban ocultas por la cofia. Cabellos cortos, más o menos con volumen. 1335. Artesonado de la Catedral de Teruel (detalle) Pelo corto rizado o largo terminado en bucles. 1280-85. Cantigas de Santa María de Alfonso X el Sabio, Biblioteca del Monasterio de San Lorenzo de El Escorial, Madrid (detalle) 1283. Libro de Ajedrez, Dado y Tablas de Alfonso X el Sabio, Biblioteca del Monasterios de San Lorenzo de El Escorial, Madrid (detalle) H. 1295, Anónimo, Plañideras, tumba caballero Sancho Sánchez Carrillo, San Andrés de Mahamud (Burgos), Museo Nacional de Arte de Cataluña, Barcelona (detalle) Rodetes. 1335. Artesonado de la Catedral de Teruel (detalle) En el siglo XIV se seguirá estilando la melena corta y bastante ahuecada de origen franco-borgoñón, pero también se estila los cabellos largos, repeinados y rizados. Se lleva la barba bifurcada (incluso dividida en cuatro) y bigote estrecho, en algunos casos en dos largas guías. El cabello rubio seguirá haciendo furor. Orejas ocultas. H. 1350. Martirio de Santa Lucía de Mur, anónimo, Museo Nacional de Arte de Cataluña, Barcelona (detalle) 1330. La vida de San Juan Bautista, Domingo Pérez Iglesia de Sebastián de los Caballeros, Toro, Zamora (detalle) 1338. Libro de la cofradía de Santiago (detalle) ) (en este enlace podemos ver esos cabellos largos, el flequillo rizado y las barbas bifurcadas) A mediados de siglo la melena se peina con más naturalidad. El flequillo irá desapareciendo definitivamente pero habrá alguno que se resista y mostrará un pequeño mechoncillo sobre la frente. 1356, Retablo de los Santos Juanes, Maestro de Santa Coloma de Queralt, Museo Nacional de Arte de Cataluña, Barcelona (detalle) XIV. Escena de la vida de San Andrés, Añastro, Burgos, The Metropolitan Museum of Art, EEUU. (detalle) XIV, Retablo de San Cristóbal, Anónimo, Museo del Prado, Madrid (detalle) El mechón del flequillo queda reducido a varios pelillos. La barba está bifurcada, el bigote es corto y lleva mosca debajo del labio. 1367-81. La última cena, Retablo de la Virgen del comendador, Jaime Serra, Museo Nacional de Arte de Cataluña (detalle) (imagen obtenida aquí; un excelente blog sobre arte) (aquí otra imagen fantástica de esos pelillos en el mismo blog) En la última década se estila la moda francesa de pelo lacio muy estirado y recogido por delante en rizos haciendo un rodete circular. Las patillas van afeitadas. Ocultando las orejas. Los jóvenes se afeitan hasta las patillas. 1393. San Jorge, Retablo del Santo Espíritu, Pedro Serra, Manresa (detalle) 1390. Adoración de los Reyes Magos, Pedro Serra, iglesia de San Pedro de Cubells, Lérida (detalle) Una imagen curiosa es ésta, en la que podemos ver el cabello dividido en dos trenzas y sujeto por delante como lo llevan las mujeres (no he encontrado más ejemplos masculinos). H. 1390. Jesús ante Pilatos, Maestro del Monasterio de Piedra, Real academia de la Historia, Madrid (detalle) Mujer: sigue llevando la melena corta rizada, tapando las orejas. O el cabello largo dividido en dos trenzas que se cruzan por detrás de la cabeza y se lleva hacia delante prendiéndose los extremos. O formando los rodetes a la altura de la orejas. Media melena terminada en bucle. 1346, mural de la capilla de S. Miguel, Jaime Ferrer Bassa, Monasterio de Pedralbes, Barcelona (detalle) Segunda mitad XIV, Santas Mártires, Maestro de Estamariú (detalle) Cabello trenzado y recogido por delante y cabello trenzado sin recoger. 1367-81. La última cena, Retablo de la Virgen del comendador, Jaime Serra, Museo Nacional de Arte de Cataluña (detalle) (imagen obtenida aquí) Los rodetes. Seguramente este último peinado envuelto en toca dio lugar a las trufas tan de moda en el siglo XV. Segundo tercio del siglo XIV. Púlpito del refectorio de la Catedral de Pamplona (aquí otra imagen) Mediados del siglo XIV, Martirio de Santa Lucía (procedente de S. Lucia de Mur, Lérida), Museo Nacional de Arte de Cataluña, Barcelona (detalle) Cabello recogido, tapando las orejas. 1359-62. La Virgen de Tobed, Jaime Serra, Museo del Prado, Madrid (detalle) Cabellos dispuesto en largos tirabuzones. 1361-62. Resurrección, Jaime Serra, Museo de Zaragoza (detalle) Un peinado peculiar fue el de entrelazar cintas o hebras entre los cabellos de la frente y de los dos laterales, prendiéndose en la nuca. Esta moda perdurará hasta inicios del siglo XV y también será lucido por los hombres. H. 1340-1348, Tríptico de la Virgen con el Niño, Ferrer y Arnau Bassa, The Art Walters Museum, EEUU (detalle) 1376-1400. La huida a Egipto, Maestro de Alpuente (Valencia), Museo de Zaragoza (detalle) Pongo aquí unas imágenes que aunque no son españolas nos ayuda a hacernos una idea de cómo se trenzarían esos cabellos: H. 1400. Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berlin 1325-35. El salterio de Luttrell, Biblioteca Británica Entrada relacionada en este blog: EL PEINADO EN LA ALTA EDAD MEDIA EL PEINADO EN EL SIGLO XV EL PEINADO EN EL SIGLO XVI El peinado en el siglo XVII Bibliografía: Bernis Madrazo, Carmen: Indumentaria Medieval Española, Instituto Diego Velázquez, Consejo Superior de Investigaciones Científicas, CSIC, 1956. Fresneda González, Mª de las Nieves: Atuendo, aderezo, pócimas y ungüentos femeninos en la Corona de Castilla (Siglos XIII Y XIV). Tesis doctoral. Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte I. 2013. http://gabinetedcuriosidades.blogspot.com.es/2009/06/como-ser-bella-y-no-morir-en-el-intento.html

Here's a further attempt at 1275-1300 or so headwear to wear with medieval garb. (Sorry, only the headwear is medieval in this pic, though.) The hairnet is the one I made a couple of weeks ago. The hat is a sort of "pie crust" hat like the ones in the Manesse Codex. It is made of linen. The linen barbette (chin band) is a new attempt, and if you look at the period pictures here you see that many of them have a line going up the side of the head, sort of angled in the middle of the barbette. Notice that my new version of the barbette also has this line! I need to pin the barbette lower on the upper back of my head, though, to get the most authentic look. See my previous picture for more examples of the hairnet in this type of style. This looks to me 100% better than the earlier picture I posted. It also seems to be very secure -- it's not going anywhere, unlike some of the veils I've worn on windy days! I believe I'll wear it to my next SCA event. See www.capiti.de/das-gebende.html which looks very much like this hat.

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. …

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…

I think it might be clear at this point that I am a connoisseur of the open hood. I have an entire drawer full of them. Seven of them, in fact. Each with its own color and character. The seventh is the hood I'm sharing today.

xxxxx

This time we will go slightly of focus for the blog but we just have to put some light on this rather extraordinary well preserved medieval hat. In 1938 they found an old hat. Its was a ordinary fe…

Honor Before Victory. Living in the Current Middle Ages with the Society for Creative Anachronism (SCA) ~ By Gregor and Genoveva

This garment, presumed to be a woman’s, was discovered in a bog in Moy, County Clare, Ireland in 1931. The age of the gown is not known, but it is presumed to be from the mid 14 th century to late 15 th century based on its construction./div There are at least two very detailed…