This page is representative of my thesis completed for MA Historical Costume from Arts University Bournemouth, UK.
14th Century Dress
Figure 1: Ladies watching a tournament.
The 14th century was an exceedingly tumultuous period of British history. At the end of the previous century, prices rose sharply with the rich becoming richer and the poor becoming poorer (Gillingham & Griffiths, 2000, p.79). In 1348, the Black Death crept ashore and devastated the population. As a result, fewer people survived to do the same jobs and peasants suddenly had the upper hand in bargaining for better pay (Gillingham & Griffiths, 2000, p.102). Rising class tensions resulted in strikes and boycotts, and eventually led to the Peasant Revolt of 1381 (Brown University, 2010).
Significant changes in the construction of clothing emerged in this century and there is a clear evolution of fashionable styles (Scott, 2007, p.79). Sleeves were set in, front closures appeared, and there was a separation of fashionable and formal dress (ibid). The simple cotes and surcotes of the previous century had remained as functional pieces. However, following the Plague, they disappeared as new advancements in cutting techniques brought waist seams and doublets which would carry into the Early Modern period.
The handsewn garments here are representative of what was typically worn in the years leading up to the mid-century turning point, just before the Bubonic Plague changed the social and political landscape of the British Isles forever.
What a Woman Wore
Figure 2: Ladies with various hair styles.
The shape of women's underpinnings would have have varied little between peasantry and nobility, with main differences lying in cloth quality. The quality could range from a coarse, unbleached hemp canvas to a finely spun bleached linen (Thursfield, 2015, p.41). In fact, bleaching as a practice was not commonplace until the 14th century (Kay-Williams, 2013, p.50).
She had a smock, a pair of hose, and garters to secure the hose at the knee.
As suggested by the Dominican Jean de Baume around 1300, underwear was not changed daily and good children changed their undergarments every two weeks (Scott, 2007, p.89).
Over her smock she wore a gown called a cote.
Hover to see surviving cote.
Figure 8: Extant cote found in Greenland.
Figure 7: Woman's cote c.1340.
A woman's cote is her primary garment and is made up of triangles and rectangles. A few cotes have survived from this period (see Figure 5) and show that two rectangles form the front and back, and six triangles are inserted from the waist or under the arms to create a flowing skirt (Fransen et. al, 2011). The skirt was floor length, or near to it for those who were more active, and the wealthy had long trains. This one was dyed by hand using weld and iron, learn more about this.
Figure 14: Women in shorter cotes harvesting a field.
Figure 15: Woman in a typical cote at a spinning wheel.
Figure 16: Wealthy woman in a long, dragging cote.
Fashionable sleeves were loose at the upper arm and tight fitting at the forearm. The tight fit was achieved by sewing shut or with buttons for the more well-to-do (Thursfield, 2015, p.57). In 1351, Venetian judges fined a man who wore a whopping 60 buttons on his tunic (Scott, 2007, p.108).
Figure 17: Many buttons on an Italian depiction of Luxuria.
When she wanted a little extra warmth, she could wear her surcote.
Figure 22: Sleeveless surcote c.1340.
As cloaks went out of regular use, surcotes came in fashion in the 13th century (Thursfield, 2015, p.67). They added an extra layer of warmth and style. Upper class women in trailing surcotes would showcase their wealth by holding the train in their arms, either demonstrating that their hands weren't needed for anything else, or to show off the expensive silk lining (Stitch in Time, 2018). This surcote is dyed using brazilwood, learn more about this.
Figure 23: Working woman in short surcote.
Figure 24: Wealthy woman holding her surcote.
Figure 25: Two women in sleeveless surcotes.
Worn by both men and women, they could have long sleeves, no sleeves, or semi-attached sleeves for more versatility. In the later part of the century, the armholes elongated below the waist and the garment was only worn ceremonially by high ranking ladies (Scott, 2007, p.101).
Figure 26: Upper class surcote with fashionable peaked sleeves.
Figure 27: Typical sleeveless surcote.
Figure 28: Surcote with long, half-attached sleeves thrown back.
Some surcotes had pocket slits, called fitchets, at the waist to reach bags and items suspended from a girdle. These fitchets have been found on real extant garments from Herjolfsnes in Greenland (Fransen et. al, 2011, p.88). Here they were openings within the seam itself, but by the 1350s they became decorated slashes at the front (Figure 30).
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Figure 29: Extant surcote with fitchet in seam.
Figure 30: Fashionable fitchets c.1352.
In the latest fashion, perhaps scandalous to some, a woman's hair was frequently seen exposed.
Figure 31: A servant uses a mirror to show a woman her coiled hair.
Figure 32: Hair gathered in nets at the ears with a veil and wimple.
Figure 33: Plaited hair coiled and pinned over the head with no veil.
Figure 34: A veil flying back to show how thin and fine it is.
While veils were still commonly worn and concealed hair in varying degrees, as the century progressed, they grew thinner and smaller, and were sometimes not worn at all (Scott, 2007, pp.92, 100). During the 14th century it was popular to wear plaited hair coiled over the ears (see above), this gave a full appearance to a veil when worn over top. A fillet, in the form of a tablet woven band or linen strip, was usually secured to the head and the veil pinned to it.
Figure 35: Coiling plaited hair and pinning it to a linen fillet.
Figure 36: Front view of veil and fillet.
Figure 37: Back view of linen veil.
A man's undergarments consisted of a shirt, breeches, and separate hose. The breeches could vary from very large and loose to very short and fitted. His hose were attached to the waistcord and the breeches were tucked into them.
There was apparently no shyness about men's underwear. Unlike women's undergarments which were rarely seen, there are many depictions of men stripped down to these layers when working. In fact, due to a large slit at the front of his outergarments, his underwear could be revealed by a gentle breeze (Figure 42).
Hover to see surviving hose.
Figure 43: Extant hose excavated in Greenland.
Figure 42: A man's underwear is revealed as he's attacked.
Figure 41: Men in undergarments working a field.
The cote was also a man's primary garment. It could fall as low as the ankles, but as the century progressed it trended shorter and shorter and most commonly sat at the knees. By the end of the century, it was replaced by the doublet and worn with joined hose (Thursfield, 2015, p.107).
Figure 44: A man's cote.
His cote had a long slit at the front to allow for ease of movement during physical activity, like riding a horse (Thursfield, 2015, p.59). This slit attributed to Robert Curthose, Duke of Normandy, who supposedly introduced the style to the Anglo-Norman world after seeing it in Sicily (Scott, 2007, p.39). This cote is dyed using weld, learn more about this.
Figure 49: A working man's cote.
Figure 50: Messengers in typical cotes.
Figure 51: The longer cotes of a king and his servants.
His belt might suspend a bag or weapon. It was popular to sport a decorative dagger or anelace at this time. The dagger might be seen poking through fitchets in an overgarment, causing criticism from clergy who compared it to the spear plunged into Christ's side during his crucifixion (Scott, 2007, p.100).
Figure 52: A nobleman wears an overgarment with a fitchet and kneels before Christ.
A variety of overgarments were worn for all different occasions. The gardecorp began as a travelling garment, but was frequently seen in all settings during the century. This one is dyed with woad, learn more about this.
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Figure 58: A nobleman wearing a gardecorp.
The gardecorp is characterized by its oversized, pleated sleeves with long slashes to allow arms to be pulled through. The extra long sleeves keep the wearer's hands warm and dry when traveling during unpleasant weather (Thursfield, 2015, p.75). A long slit at the front and back allowed for ease of movement when horseriding (Figure 58).
Figure 59: A teacher in a gardecorp.
Figure 60: Philosphers in gardecorps.
Figure 61: Two men in shorter gardecorps.
Men's hair was seen in an assortment of styles, but it appeared a particular fashion to have medium length, curled hair and clean-shaven faces. According to the chronicler Jean de Venette, by the 1350s noblemen had taken up wearing long beards that were mocked by commoners (Scott, 2007, p.98).
Figure 62: Typical men's hairstyle.
Figure 63: A nobleman sporting a beard.
Figure 64: Clergy with tonsured heads.
Figure 65: A doctor wearing a coif.
Hats were typically indicators of a person's status. For example, coifs, which had been widely worn by everyone, were now worn only by professional, educated men (Scott, 2007, p.89; Thursfield, 2015, p.195). Caps like the one below have been found at the Herjolfsnes settlement in Greenland.
Hover to see surviving cap.
Figure 67: Extant cap found in Greenland.
Figure 66: Cap made from leftover gardecorp fabric.
What a Man Wore
Figure List
Some figures may be hidden within interactive images. Look for images that have the label 'hover here' or allow you to click through a slide show.
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Ladies watching a tournament.
Anon (1352). Tournament with ladies watching. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=52089 [Accessed 3 August 2023].
Ladies with various hair styles.
Anon (1340). Duke Henry of Breslau. [online]. Available from: https://doi.org/10.11588/diglit.2222#0018 [Accessed 4 August 2023].
Women's undergarments.
Belser, J. (2023). Women's undergarments. [photography]. In possession of: the author.
Front view of undergarments.
Colvard, J. (2023). Women's undergarments. [photography]. In possession of: the author.
Tablet woven garter.
Colvard, J. (2023). Tablet woven garter. [photography]. In possession of: the author.
Back view of undergarments.
Colvard, J. (2023). Back view of undergarments. [photography]. In possession of: the author.
Woman's cote c.1340.
Anon (1340). Herr Heinrich von Stretlingen. [online]. Available from: https://doi.org/10.11588/diglit.2222#0136 [Accessed 4 August 2023].
Extant cote found in Greenland.
Fortuna, R. (2011). Museum No. D10584. [photograph]. In: Fransen et. al. (2011). Medieval Garments Reconstructed. Aarhus Universitetsforlag. p.66.
Women's handsewn wool cote.
Trivedi, D. (2023). DSC02224. [photography].
Front view of cote belt.
Trivedi, D. (2023). DSC02202. [photography].
Back view of cote.
Trivedi, D. (2023). DSC02251. [photography].
Cote without girdle.
Trivedi, D. (2023). DSC02246. [photography].
Side view of cote.
Trivedi, D. (2023). DSC02240. [photography].
Women in shorter cotes harvesting a field.
Anon (1325). Reaping and binding sheaves of wheat. [online]. Available from: https://3.bp.blogspot.com/-OHV9V5-9WYk/T4ZOzJP6PBI/AAAAAAAABs4/D0KqDrfyrOI/s1600/luttrell10.jpg. [Accessed 27 July 2023].
Woman in a typical cote at a spinning wheel.
Anon (1275). Woman with spinning wheel. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=32587 [Accessed 27 July 2023].
Wealthy woman in a long, dragging cote.
Anon (1325). Two ladies. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=56618 [Accessed 27 July 2023].
Many buttons on an Italian depiction of Luxuria.
Cocharelli Codex Master (1330). Luxuria. [illumination]. In: Scott, M. (2007). Medieval Dress & Fashion. London: British Library. p.91.
Handsewn sleeveless surcote of wool.
Trivedi, D. (2023). DSC02267. [photography].
Front view of surcote.
Trivedi, D. (2023). DSC02301. [photography].
Back view of surcote.
Trivedi, D. (2023). DSC02315. [photography].
Side view of surcote.
Trivedi, D. (2023). DSC02331. [photography].
Sleeveless surcote c.1340.
Anon (1340). The Winsbekin. [online]. Available from: https://doi.org/10.11588/diglit.2222#0429 [Accessed 4 August 2023].
Working woman in short surcote.
Anon (1330). Sheep and shepherds in a pen. [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=1052 [Accessed 27 July 2023].
Wealthy woman holding her surcote.
Anon (1275). Maid following a woman. [online]. Available from: http://www.e-codices.unifr.ch/en/bcul/U0964/178r/0/ [Accessed 27 July 2023].
Two women in sleeveless surcotes.
Sub-Fauvel Master (1300). Hosea. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=40263 [Accessed 20 July 2023].
Upper class surcote with fashionable peaked sleeves.
Anon (1325). Lady hawking. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=29083 [Accessed 5 August 2023].
Typical sleeveless surcote.
Montbaston Master (1325). Prudence. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=47654 [Accessed 20 July 2023].
Surcote with long, half-attached sleeves thrown back.
Anon (1244). David’s Lust, Adutlery, Damage Control. [online]. Available from: https://www.themorgan.org/collection/crusader-bible/82 [Accessed 20 July 2023].
Extant cote with fitchet in seam.
Fortuna, R. (2011). Museum No. D10587. [photograph]. In: Fransen et. al. (2011). Medieval Garments Reconstructed. Aarhus Universitetsforlag. p.88.
Fashionable fitchets c.1352.
Muisis, G.L. (1352). Poems. [online]. Available from: https://cottesimple.com/wp/wp-content/uploads/2016/10/kbr-MS-IV-119-f168.jpg.
A servant uses a mirror to show a woman her coiled hair.
Anon (1330). Lady at her toilette. [online]. Available from: https://www.meisterdrucke.uk/fine-art-prints/English-School/1351958/Add.-42130,-f.63-Lady-at-her-toilet,-illustration-from-%27The-Luttrell-Psalter%27,-c.1321-35-(vellum).html [Accessed 27 July 2023].
Hair gathered in nets at the ears with a veil and wimple.
Anon (1320). Detail: Judith and Holofernes. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=5620 [Accessed 20 July 2023].
Plaited hair coiled and pinned over the head with no veil.
Anon (1335). Nevilles of Hornby kneel before Christ. [illumination]. In: Scott, M. (2007). Medieval Dress & Fashion. London: British Library. p.98.
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A veil flying back to show how thin and fine it is.
Anon (1330). Upper-class couple playing backgammon. [illumination]. In: Thursfield, S. (2015). The Medieval Tailor's Assistant. Costume & Fashion Press. p.192.
Coiling plaited hair and pinning it to a linen fillet.
Trivedi, D. (2023). DSC02347. [photography].
Front view of veil and fillet.
Trivedi, D. (2023). DSC02201. [photography].
Back view of linen veil.
Trivedi, D. (2023). DSC02315. [photography].
Men's undergarments.
Colvard, J. (2023). Men's undergarments. [photography]. In possession of: the author.
Securing the hose to the breech girdle.
Colvard, J. (2023). Securing the hose to the breech girdle. [photography]. In possession of: the author.
Back view of undergarments.
Colvard, J. (2023). Back view of undergarments. [photography]. In possession of: the author.
Men in undergarments working a field.
Anon (1244). A Successful Day, Naomi’s Counsel, Boaz Compromised. [online]. Available from: https://www.themorgan.org/collection/crusader-bible/35 [Accessed 20 July 2023].
Extant hose excavated in Greenland.
Fortuna, R. (2011). Museum No. D10613. [photograph]. In: Fransen et. al. (2011). Medieval Garments Reconstructed. Aarhus Universitetsforlag. p.134.
A man's underwear is revealed as he's attacked.
Anon (1260). Serpent biting a man’s foot. The British Library [online]. Available from: https://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_62925_fs001r [Accessed 4 August 2023].
A man's cote.
Anon (1340). Herr Rudolf von Rotenburg. [online]. Available from: https://doi.org/10.11588/diglit.2222#0114 [Accessed 4 August 2023].
Handsewn man's wool cote.
Trivedi, D. (2023). DSC02216. [photography].
Front view of cote without belt.
Trivedi, D. (2023). DSC02242. [photography].
Front view of cote with belt.
Trivedi, D. (2023). DSC02212. [photography].
Both cotes.
Trivedi, D. (2023). DSC02229. [photography].
A working man's cote.
Anon (1325). Reaping and binding sheaves of wheat. [online]. Available from: https://3.bp.blogspot.com/-OHV9V5-9WYk/T4ZOzJP6PBI/AAAAAAAABs4/D0KqDrfyrOI/s1600/luttrell10.jpg. [Accessed 27 July 2023].
Messengers in typical cotes.
Mahiet and Cambrai Missal Master (1332). Church of St Martin. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=57510 [Accessed 5 August 2023].
The longer cotes of a king and his servants.
Pseudo-Aristotle (1326). Alexander washing his hands. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=47368 [Accessed 6 August 2023].
A nobleman wears an overgarment with a fitchet and kneels before Christ.
Anon (1335). Nevilles of Hornby kneel before Christ. [illumination]. In: Scott, M. (2007). Medieval Dress & Fashion. London: British Library. p.98.
Handsewn wool gardecorp with woven trim.
Trivedi, D. (2023). DSC02318. [photography].
Close up of the back.
Trivedi, D. (2023). DSC02326. [photography].
Back view of gardecorp.
Trivedi, D. (2023). DSC02330. [photography].
Side view with fitchets.
Trivedi, D. (2023). DSC02263. [photography].
Gardecorp and surcote.
Trivedi, D. (2023). DSC02305. [photography].
A nobleman wearing a gardecorp.
Anon (1340). Herr Ulrich von Gutenburg. [online]. Available from: https://doi.org/10.11588/diglit.2222#0141 [Accessed 4 August 2023].
A teacher in a gardecorp.
Anon (1300). Teacher lecturing to students. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=40292 [Accessed 20 July 2023].
Philosophers in gardecorps.
Anon (1325). Plato, Seneca & Aristotle. [online]. Available from: https://www.gla.ac.uk/myglasgow/library/files/special/images/exhibitions/month/H231/H231_276wf.jpg [Accessed 26 January 2023].
Two men in shorter gardecorps.
Anon (1300). Discussion. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=21453 [Accessed 20 July 2023].
Typical men's hairstyle.
Anon (1340). The Chancellor. [online]. Available from: https://doi.org/10.11588/diglit.2222#0842 [Accessed 4 August 2023].
A nobleman sporting a beard.
Anon (1330). Upper-class couple playing backgammon. [illumination]. In: Thursfield, S. (2015). The Medieval Tailor's Assistant. Costume & Fashion Press. p.192.
Clergy with tonsured heads.
Anon (1325). A choir. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=1060 [Accessed 26 January 2023].
A doctor wearing a coif.
Platearius Master. (1300). Detail. The British Library [online]. Available from: https://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=7341 [Accessed 4 August 2023].
Cap made from leftover gardecorp fabric.
Trivedi, D. (2023). DSC02324. [photography].
Extant cap found in Greenland.
Fortuna, R. (2011). Museum No. D10610. [photograph]. In: Fransen et. al. (2011). Medieval Garments Reconstructed. Aarhus Universitetsforlag. p.130.
References
A Stitch in Time. Episode 5. Arnolfini. (2018). BBC4. [Television]. 31 January. Available from: https://www.youtube.com/watch?v=-u2RM1odsf4. [Accessed: 3 August 2023].
Brown University (2010). Social and Economic Effects of the Plague [online]. Available from: https://www.brown.edu/Departments/Italian_Studies/dweb/plague/effects/social.php [Accessed 10 April 2023].
Fransen, L., Norgard, A. and Ostergard, E. (2011). Medieval Garments Reconstructed: Norse Clothing Patterns. Aarhus Universitetsforlag.
Gillingham, J. and Griffiths, R.A. (2000). Medieval Britain: A Very Short Introduction. Very short introductions. Oxford: Oxford University Press [online]. Available from: https://academic.oup.com/book/28406/chapter/228823104 [Accessed 25 January 2023].
Scott, M. (2007). Medieval Dress & Fashion. London: British Library.
Thursfield, S. (2015). The Medieval Tailor’s Assistant: Common Garments, 1100-1480. 2nd edition-revised and expanded. UK: Costume & Fashion Press.
Bibliography
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