Saturday, November 19, 2011

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 - Fran├žois 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 - Fran├žois 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.  
 











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