Underwear documentation and pictures

Underwear by Engeline Vonfoxridge
Name of piece and what layer it represents:
These are underwear and they represent the skin layer.
Period and origin of time:
The period of origin I am using is the 1300’s my personia is of Austrian decent so I am using Austria as the place.
What material was used in period:
Linen and silk were used in period.
Material I used:
I used linen
How I assembled the pieces:
I took my measurements and cut a waist band. Then I cut out a piece for the bottom and between my legs. I hand sewed them together
What I did and the difference between:

 I am not sure the differences I couldn’t find any documentation explaining how underwear was made.

History:

As far back as 7,000 years ago remains have been found of pre-historic leather loincloths. The Egyptians used fabric to make a undergarment as long ago as 2,000 years ago. A ‘chiton’ was used by ancient Greeks. Underwear are cloths worn under cloths, next to the skin. The purpose of underwear is to keep the outer garments cleaner by keeping the bodily secretions and dirt away from the dress. They also shape and provide support for parts of the body. Underwear is also used for warmth by adding a extra layer of clothing. Around the 13th century, pull-on underpants were invented and underwear became an important garment. Braies replaced the loincloth. Braies were often made of linen and were worn by all society.

What I learned:
I learned that documenting underwear is hard.
References:
Fashion in the Age of the Black Prince. By Stella Mary Newton
Boucher, François. 20,000 Years of Fashion. The History of Costume and Personal Adornment (Expanded Edition). (Harry N. Abrams, Inc., NY 1983). ISBN 0-8109-1693-2.
Cowgill, J.; M. de Neergard; and N. Griffiths. Knives and Scabbards (Medieval Finds from Excavations in London:1). (HMSO, London 1987)
Crowfoot, Elisabeth; Frances Pritchard, and Kay Staniland. Textiles and Clothing, c.1150-c.1450. (Medieval Finds from Excavations in London: 4) (alias "T&C") (London: HMSO, 1992).
Houston, Mary G. Medieval Costume in England and France, The 13th, 14th and 15th Centuries (Dover Publications, NY, 1996; 1st pub. Adam & Charles Black, London, 1939, as Vol. II of "A Technical History of Costume")
Kohler, Karl. A History of Costume. ISBN 0-4862-1030-8.　

Tippets documentations and pictures

TippetsBy Engeline VonFoxridg

Name of piece and what layer it represents:

Tippets. These represent the accessory layer.

Period and origin of time:

The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.

What material was used in period:

White fabric, I believe to be linen or they were made of fur.

Material I used:

I used white linen. I used linen because I already had some and I like the way the white looks against the red of the dress.

How I assembled the pieces:

First thing I did was measure how long I wanted my tippets to be. Then I cut two long tubes of linen to length and two pieces to fit my upper arm. I hand sewed them together. At the ends I sewed them into a point, then turned them right side out and attached the cuff around the top.

 What I did and the difference between: I put quarters in the end of my tippets to weight them down.
History:

Tippets were like streamers that hung from the elbow. Tippets were popular around the 1340’s to the 1350’s. Both men and women wore them. Tippets probably came from the long baggy sleeve that was popular years before. Tippets were just for decoration they had no function. They varied in length somewhere from forearm to floor length. Some were even longer.

Lessons learned: I learned to better measure my arm.　
　An image from Bodleian Library MS Bodl. 264, a mid-fourteenth-century edition of the Romance of Alexander

References:

Crowfoot, Elisabeth; Pritchard, Frances; Staniland, Kay. Textiles and Clothing 1150-1450. . Suffolk: The Boydell Press, 1992, 2001.
Farmer, Sharon. "Biffes, Tiretaines, and Aumonieres: the Role of Paris in the International Textile Market of the 13th and 14th Centuries." Medieval Clothing and Textiles 2. Suffolk: The Boydell Press, 2006. 73-90.
Netherton, Robin. "The Tippet: Accessory After the Fact?" Medieval Clothing and Textiles I. Suffolk: The Boydell P, 2005. 115-132.
Newton, Stella Marie. Fashion in the Age of the Black Prince. Suffolk: The Boydell Press,
2002
　1346, Czech. brass of Lady Maude De From Six treatises on common christian matters
by Thoás Stítný; fol 37 Foxle, dated 1387

Pattens documentation and pictures

Pattens By Engeline Vonfoxridge
Name of piece and what layer it represents:
These are pattens and they represent the accessory layer.
Period and origin of time:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.
What material was used in period:
The materials that were used in period were alder, poplar, willow and beech.
Material I used:

The material that I used was poplar wood.
How I assembled the pieces:
I went to the store and picked out the poplar to make my pattens. I traced the bottom of Mike’s shoe on a piece of paper and then traced that onto the wood. I cut the shape with table saw. Then I used a grinder to smooth out the shape and sand the rough wood. I oiled the patten with Linseed oil. I measured, cut, and attached leather straps to the pattens.
What I did and the difference between:
In period patten makers had blanks that they shaped to each person. Then they chiseled and sanded the wood to make the patten. They used hand tools.　

History:
The earliest patten fragment in the collection [of the Museum of London] is part of a plain toe strap... dating from the early 12th century, but the earliest complete patten... belongs to the early 13th century. ... By far the largest group of wooden pattens may be assigned to the second half of the 14th century."Shoes of the period had thin soles; because of this pattens were commonly used. Pattens are an overshoe with a raised sole to raise the wearer up off of the dirty streets, above the mud and the dirt ( including human waste from chamber pots that were usually thrown directly into the street and animal dung.) In a time when road and street paving was minimal and indoor stone floors were very cold. Pattens only make contact with the ground through the two or three strips of vertical wood that made up the bottom of the sole and raised the wearer up, sometimes by as much as four inches. The sole was made of wood, with a leather vamp that tied over the foot with leather or cloth bands. The wealthy had a pair of pattens for each set of shoes so they would match. Medieval and early modern overshoes are now all usually referred to as pattens for convenience. In some cases the overshoes had small pieces of metal on the bottoms, used to protect the shoes.

References:
Egan, Geoff & Pritchard Frances (2002) Dress Accessories c. 1150-1450. Boydell Press, Woodbridge.
Newton, Stella Mary (1980) Fashion in the Age of the Black Prince. A Study of the years 1340-1365. Boydell
Press, Woodbridge. Nockert, Margareta
Piponnier, Francoise & Mane, Perrine (1997) Dress in the Middle Ages. Yale University Press. New Haven and London.　　
　

Gloves documentation and pictures

Gloves by Engeline VonFoxridge'Les tres reys dewant herodes.' ('The three kings before Herod'). Painted by the Infancy Artist.
　
Name of piece and what layer it represents:
This piece is called gloves and it represents the accessory layer.
Period and origin of time:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.
What material was used in period:
Material that was used in period was leather, silk, wool, and linen.
Material I used:
The material that I used was wool.
 
How I assembled the pieces:
I traced my hand onto a piece of paper then cut it out of material to use as a pattern. Then I put the pattern onto my wool and cut out four pieces. I hand sewed the pieces together with fourchettes between the fingers for movement. I used cotton string to sew them.
What I did and the difference between:
The differences is I used cotton string.
 What I learned:
 Gloves have been around a long time.
History:
I learned that gloves are harder to make then I thought. The Pharaohs wore them as a symbol of their high position and women wore them to protect the beauty of their (they rub their hands with honey and fragrant oils and put on thin silk gloves). In those times the gloves were made as small pockets without holes for fingers. There was a tradition to eat in gloves even in the Middle Ages. There were special thimbles from thin good fabric. They put them only on the fingers. These gloves were made from linen and silk. The gloves became an accessory of status and meaning in women's clothes around the 12th century. They were decorated with colorful embroider, jewelry and pearls. Women splashed them with perfumes. The gloves were not only decoration, but a symbol of chic and elegance, a symbol of differentiation and power in the Middle Ages.
References:
ROSALIE'S MEDIEVAL WOMAN STEFAN'S FLORILEGIUM
Newton, Stella Marie. Fashion in the Age of the Black Prince. Suffolk: The Boydell Press,
2002

Garters documentation and pictures

Garters
By Engeline vonFoxridge
Name of piece and what layer it represents:
These are garters and the piece that they represent is the skin layer.
Period and origin of time:
The period of origin I am using is the 1300’s my personia is of Austrian decent so I am using Austria as the place.
What material was used in period:
. Woven strips of wool with integral fringe, card woven bands either tied or buckled on, and leather strips with buckles
Material I used: I used cotton string that I bought at the store, because it came in the colors that I wanted.
How I assembled the pieces:
 I wrapped my inkle loom with the colors that I wanted to used. Then I just started weaving until I had enough for a garter. The differences are that I used cotton string and not wool or linen.
History:
Garters are a narrow band of fabric tied or buckled below the knee to help keep the stockings from falling down. Garters are normally only a few inches in width and can be decorated. Garters were worn by both men and women.
Lessons learned:
I finally learned how to wrap my inkle loom.
What I would do different next time:
 is make a pattern in the garter.　References:
Rosalie Gilbert
Alcega, Juan de. Tailor's Pattern Book 1589. Trans. Jean Pain and Cecilia Bainton. Carlton, Bedford, UK: Ruth Bean, 1979.
Arnold, Janet. Patterns of Fashion: The Cut and Construction of Clothes for Men and Women 1560-1620. New York: Drama Books, 1985

Cotehardie documentation and pictures

The cotehardie
by Engelline Von Foxridge
Name of piece and what layer it represents:
This piece is called a cotehardie. It represents the main garment.
 Period of origin time period and origin:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.
What material was used in period:
 In period the material that would of use was; silk, wool, brocade, or linen.
Material I used:
The material that I used was wool.
How I assembled the pieces:
I used my measurments to draft a pattern. I cut the material and then hand sewed them together. I hand sewed this dress. I used a back stitch to sew the garment together. I used a hem stitch to sew the hem around the bottom and the neck. I put the garment on then fitted the waist and the sleeves. Removed the extra and ta-da done.
What I did and the difference between:
The differences are… In period the maker of the dress would of used wool string to sew the garment together. I used cotton. Also when finishing the seams they would of used a flat felled seam. I used a seam that is better for machine washing.
 
History:
In the 1300’s, women dressed according to their class. Women wore two dresses or tunics one over and one under. That was the main style for most of the early part of the 1300’s. Using different fabrics and decorations made different looks. Also raising and lowering the hem lines changed the style of the dress. The cotehardie began changing in the early part to the 1300’s. In the beginning the woman wore a T tunic with the sleeves cut into the garment. As time passed the dress changed. The sleeves that were once loose and connceted to the body now became tight and were being sewed onto the person each time they wore the dress. Then came buttons and lacing. All of these changes changed the dress from a loose not so fitted dress to a tight and body shape enhancing one.
The cotehardie is usually thought of as a long, well fitted dress that was buttoned or laced with tight, buttoned sleeves. The cotehardie was as varied and any of the modern dresses. The cotehardie was popular in the 1300-1500’s. The dress design changed as the years went along.
The basic cut of the cotehardies has a fitted upper body, with a round neckline, and a flared out skirt. It can be floor length or have a long flowing train.
The sleeves: Sleeves were varied. Some were plain and tight fitting. There were buttons running up the back of the sleeve. Long sleeves sometimes were longer than the wrist they went as far as the knuckle of the hand.
The closure: Because of the snug fitting of the cotehardie around the upper body, it was necessary to fit in some sort of closure into the dress. There were two types most commonly used, buttons and lacing. The closures were down the front or under the arm up the side. There is no evidence that the lacings or buttons went up the back but they probably did. If the dress was laced then the lacing could either be used as decoration or laced up the inside of the dress so that the lacing was not seen.
Examples with lacing and with buttons.
Lessons learned:
I learned that button on the arm need to go down the side not the back. What I would do differently is a different neckline.
 

(source: Pilgrim Souvenirs and Secular Badges, by Brian Spenser, p. 308–310)

References:　
20,000 Years of Fashion - François Boucher
The Book of Costume - Millia Davenport
French Painting - Albert Chatelet and Jacques Thuillier
Gothic Painting - Jacques Dupont and Cesare Gnudi
The History of Costume - Blanche Payne et al
Manuscript Painting at the Court of France - François Avril
The Rohan Master - Marcel Thomas
Carlson, I. Marc. “Some Clothing of the Middle Ages -- Kyrtles/Cotes/Tunics/Gowns --
Herjolfsnes 41.” 2003. 31 Mar. 2009 <http://www.personal.utulsa.edu/~marccarlson/
cloth/herjol41.html>. Beauchamp, Countess of Warwick, c 1370-1375, St Mary's Church.
Photo can be found inTextiles and Clothing, page 165, fig. 140.picture of Joan de la Tour (left), weeper from the tomb of Edward the III, c 1377-86. Textiles and Clothing, page 181, fig. 157.