English Fashions for Men in 1400s

Costume in the period 1300-1400

Clothing of the first half of the 14th century is depicted in the Codex Manesse. In the lower console, the man is dressed as a pilgrim on the Mode of St James with the requisite staff, scrip or shoulder-handbag, and cockle shells on his chapeau. The lady wears a blue cloak lined in vair, or squirrel, fur.

Fashion in fourteenth-century Europe was marked past the beginning of a period of experimentation with different forms of clothing. Costume historian James Laver suggests that the mid-14th century marks the emergence of recognizable "fashion" in habiliment,^[1] in which Fernand Braudel concurs.^[2] The draped garments and straight seams of previous centuries were replaced by curved seams and the ancestry of tailoring, which allowed wearable to more closely fit the human form. Too, the use of lacing and buttons allowed a more snug fit to wearable.^[3]

In the course of the century the length of male hem-lines progressively reduced, and by the end of the century it was fashionable for men to omit the long loose over-garment of previous centuries (whether called tunic, kirtle, or other names) altogether, putting the emphasis on a tailored summit that fell a little below the waist—a silhouette that is still reflected in men'south costume today.^[4]

Fabrics and furs [edit]

Wool was the near important material for wear, due to its numerous favourable qualities, such equally the ability to take dye and its being a skillful insulator.^[v] This century saw the beginnings of the Little Water ice Historic period, and glazing was rare, even for the rich (most houses only had wooden shutters for the winter). Trade in textiles continued to grow throughout the century and formed an important role of the economic system for many areas from England to Italy. Apparel were very expensive, and employees, fifty-fifty loftier-ranking officials, were usually supplied with, typically, one outfit per year, every bit part of their remuneration.

Mary de Bohun wears an ermine-lined mantle tied with red strings. Her retainer wears a mi-parti tunic. From an English psalter, 1380–85

14th-century Italian silk damasks

Woodblock press of cloth was known throughout the century, and was probably fairly common by the end;^[half-dozen] this is hard to assess equally artists tended to avoid trying to draw patterned cloth due to the difficulty of doing so. Embroidery in wool, and silk or gold thread for the rich were used for decoration. Edward III established an embroidery workshop in the Belfry of London, which presumably produced the robes he and his Queen wore in 1351 of red velvet "embroidered with clouds of silver and eagles of pearl and gold, under each alternating cloud an hawkeye of pearl, and nether each of the other clouds a golden eagle, every eagle having in its bill a Garter with the motto hony soyt qui mal y pense embroidered thereon."^[7]

Silk was the finest fabric of all. In Northern Europe, silk was an imported and very expensive luxury.^[eight] The well-off could afford woven brocades from Italy or even further afield. Stylish Italian silks of this menstruation featured repeating patterns of roundels and animals, deriving from Ottoman silk-weaving centres in Bursa, and ultimately from Yuan Dynasty Communist china via the Silk Route.^[9]

A fashion for mi-parti or parti-coloured garments made of two contrasting fabrics, ane on each side, arose for men in mid-century,^[10] and was particularly popular at the English court. Sometimes just the hose would be different colours on each leg.

Checky and plaid fabrics were occasionally seen; a parti-coloured cotehardie depicted on the St. Vincent altarpiece in Catalonia is ruddy-brown on one side and plaid on the other, and remains of plaid and checkered wool fabrics dating to the 14th century accept besides been discovered in London.^[11]

Fur was by and large worn as an inner lining for warmth; inventories from Burgundian villages evidence that even at that place a fur-lined glaze (rabbit, or the more expensive cat) was i of the most common garments.^[12] Vair, the fur of the squirrel, white on the abdomen and gray on the dorsum, was particularly popular through most of the century and tin can exist seen in many illuminated manuscript illustrations, where it is shown every bit a white and blue-greyness softly striped or checkered pattern lining cloaks and other outer garments; the white belly fur with the merest edging of grey was called miniver.^[thirteen] A style in men's clothing for the night furs sable and marten arose effectually 1380, and squirrel fur was thereafter relegated to formal ceremonial wear.^[xiv] Ermine, with their dumbo white winter coats, was worn by royalty, with the black-tipped tails left on to contrast with the white for decorative issue, every bit in the Wilton Diptych in a higher place.

Men's wear [edit]

Shirt, doublet and hose [edit]

Threshing sheaf of two men, these are wearing a Braies - Luttrell Psalter (c.1325-1335)

The innermost layer of article of clothing were the braies or breeches, a loose undergarment, usually made of linen, which was held up by a belt.^[fifteen] Side by side came the shirt, which was mostly also made of linen, and which was considered an undergarment, like the breeches.^[xv]

Jean de Vaudetar, chamberlain of male monarch Charles V of France, presents his souvenir of a manuscript to the King, by Jean Bondol, 1372. For this very formal occasion, he is shown without anything over his tightly tailored tiptop. The king wears a coif

Hose or chausses made out of wool were used to cover the legs, and were generally brightly colored, and often had leather soles, and so that they did non accept to be worn with shoes.^[15] The shorter clothes of the 2d half of the century required these to be a single garment similar modern tights, whereas otherwise they were ii separate pieces roofing the full length of each leg. Hose were mostly tied to the breech belt, or to the breeches themselves, or to a doublet.^[15]

A doublet was a buttoned jacket that was generally of hip length. Similar garments were called cotehardie, pourpoint, jaqueta or jubón.^[16] These garments were worn over the shirt and the hose.

Tunic and cotehardie [edit]

A robe, tunic, or kirtle was normally worn over the shirt or doublet.^[fifteen] As with other outer garments, information technology was generally fabricated of wool.^[15] Over this, a man might also wear an over-kirtle, cloak, or a hood.^[17] Servants and working men wore their kirtles at various lengths, including equally low as the human knee or calf. However, the tendency during the century was for hem-lengths to shorten for all classes.

Notwithstanding, in the second half of the century, courtiers are frequently shown, if they have the figure for information technology, wearing nothing over their closely tailored cotehardie. A French relate records: "Around that yr (1350), men, in particular, noblemen and their squires, took to wearing tunics so short and tight that they revealed what modesty bids united states hibernate. This was a most amazing affair for the people".^[18] This manner may well have derived from military machine habiliment, where long loose robes were naturally not worn in activeness. At this period, the most dignified figures, like King Charles in the illustration, go on to wear long robes—although every bit the Royal Chamberlain, de Vaudetar was himself a person of very high rank. This abandonment of the robe to emphasize a tight superlative over the trunk, with breeches or trousers below, was to go the distinctive feature of European men's fashion for centuries to come up. Men had carried purses upwards to this time because tunics did not provide pockets.^[nineteen]

Chaucer reading his work to the court of Richard Ii, c. 1400

The funeral effigy and "achievements" of Edward, the Black Prince in Canterbury Cathedral, who died in 1376, prove the military machine version of the same outline. Over armour he is shown wearing a short fitted arming-coat or jupon or gipon, the original of which was hung above and still survives. This has the quartered arms of England and France, with a rather similar event to a parti-coloured jacket. The "charges" (figures) of the arms are embroidered in gilded on linen pieces, appliquéd onto coloured silk velvet fields. Information technology is vertically quilted, with wool stuffing and a silk satin lining. This type of glaze, originally worn out of sight under armour, was in fashion as an outer garment from nearly 1360 until early on the adjacent century. Only this and a child's version (Chartres Cathedral) survive.^[twenty] As an indication of the rapid spread of fashion between the courts of Europe, a manuscript chronicle illuminated in Hungary past 1360 shows very similar styles to Edward's English version.

Edward's son, Rex Richard II of England, led a court that, like many in Europe late in the century, was extremely refined and fashion-conscious. He himself is credited with having invented the handkerchief; "picayune pieces [of cloth] for the lord King to wipe and clean his nose," appear in the Household Rolls (accounts), which is the first documentation of their employ. He distributed jeweled livery badges with his personal emblem of the white hart (deer) to his friends, like the one he himself wears in the Wilton Diptych (in a higher place). In the miniature (left) of Chaucer reading to his court both men and women vesture very high collars and quantities of jewelry. The King (standing to the left of Chaucer; his face has been defaced) wears a patterned gold-coloured costume with matching hat. Most of the men wear chaperon hats, and the women have their hair elaborately dressed. Male courtiers enjoyed wearing fancy-wearing apparel for festivities; the disastrous Bal des Ardents in 1393 in Paris is the nearly famous example. Men, as well every bit women, wore decorated and jewelled wearing apparel; for the entry of the Queen of France into Paris in 1389, the Duke of Burgundy wore a velvet doublet embroidered with forty sheep and twoscore swans, each with a pearl bell effectually its neck.^[21]

A new garment, the houppelande, appeared effectually 1380 and was to remain stylish well into the side by side century.^[22] Information technology was essentially a robe with fullness falling from the shoulders, very full abaft sleeves, and the loftier collar favored at the English courtroom. The extravagance of the sleeves was criticized by moralists.

Headgear and accessories [edit]

Man wearing a chaperon, Italy, tardily 14th century

During this century, the chaperon made a transformation from being a utilitarian hood with a small cape to becoming a complicated and fashionable hat worn by the wealthy in town settings. This came when they began to exist worn with the opening for the confront placed instead on the pinnacle of the head.

Belts were worn below waist at all times, and very low on the hips with the tightly fitted fashions of the latter half of the century. Belt pouches or purses were used, and long daggers, normally hanging diagonally to the front.

In armour, the century saw increases in the amount of plate armour worn, and past the end of the century the full adjust had been developed, although mixtures of chain mail and plate remained more than common. The visored bascinet helmet was a new evolution in this century. Ordinary soldiers were lucky to have a mail service hauberk, and mayhap some cuir bouilli ("boiled leather") knee or shin pieces.^[23]

Style gallery [edit]

• 

  1 – Braies

• 

  two – Shirt and braies

• 

  iii – Servant

• 

  iv – Cotehardie and hood

• 

  5 – Cotehardie

• 

  6 – Huntsman

• 

  vii – Walking

• 

  8 – Men'south gowns

1. Braies are worn rolled over a chugalug at the waist. Catalonia.
2. Shirt is made of rectangles with gussets at shoulder, underarm, and hem.
3. Serving man wears a knee-length tunic with long, tight sleeves over hose. Wears a belt with a waist-pouch or purse. His shoes are pointed. From the Luttrell Psalter, England, c. 1325–35.
4. Bridegroom wears a red cotehardie, hose, and hood, Italian republic, 1350s.
5. Man in a particolored cotehardie of reddish dark-brown and plaid fabric, 2nd one-half of the 14th century, Catalonia. The cotehardie fits snugly and is buttoned up the front. A narrow belt is worn effectually the hips.
6. Huntsman wears side-lacing boots, belatedly 14th century.
7. Man walking in a brisk wind wears a chaperon that has been caught by a gust. He wears a belt pouch and carries a walking stick, tardily 14th century.
8. Older human (chiding an indiscreet young adult female, see image beneath) wears a long, loose houppelande. The fashionable immature men clothing short tunics, one with dagged edges. The human being on the right wears shoes with long pointed toes, late 14th century.

Women's habiliment [edit]

For hawking, this woman wears a pink sleeveless dress over a green kirtle, with a linen veil and white gloves. Codex Manesse, 1305–40.

Women making pasta vesture linen aprons over their dresses. Their sleeves are unbuttoned at the wrist and turned up out of the style, late 14th century

Many Italian women wear their hair twisted with cord or ribbon and jump around their heads, c. 1380

Underwear [edit]

The innermost layer of a woman'due south clothing was a linen or woolen chemise or smock, some plumbing equipment the figure and some loosely garmented, although there is some mention of a "breast girdle" or "breast ring" which may have been the forerunner of a modernistic bra.^[24]

Women also wore hose or stockings, although women's hose mostly only reached to the knee.^[15]

All classes and both sexes are usually shown sleeping naked—special nightwear only became common in the 16th century^[25]—yet some married women wore their chemises to bed as a course of modesty and piety. Many in the lower classes wore their undergarments to bed because of the cold weather at night time and since their beds unremarkably consisted of a harbinger mattress and a few sheets, the undergarment would human action as another layer.

Dresses and outerwear [edit]

Over the chemise, women wore a loose or fitted dress chosen a cotte or kirtle, commonly ankle or floor-length, and with trains for formal occasions. Fitted kirtles had wide skirts made by adding triangular gores to widen the hem without adding majority at the waist. Kirtles also had long, fitted sleeves that sometimes reached down to cover the knuckles.

Diverse sorts of robes were worn over the kirtle, and are called by different names by costume historians. When fitted, this garment is ofttimes chosen a cotehardie (although this usage of the word has been heavily criticized^[26]) and might have hanging sleeves and sometimes worn with a jeweled or metalworked belt. Over time, the hanging office of the sleeve became longer and narrower until it was the merest streamer, chosen a tippet, and then gaining the floral or leaflike daggings in the end of the century.^[27]

Sleeveless dresses or tabards derive from the cyclas, an unfitted rectangle of fabric with an opening for the head that was worn in the 13th century. By the early on 14th century, the sides began to be sewn together, creating a sleeveless overdress or surcoat.^[27]

Outdoors, women wore cloaks or mantles, often lined in fur. The houppelande was also adopted past women late in the century. Women invariably wore their houppelandes flooring-length, the waistline ascension up to correct underneath the bust, sleeves very wide and hanging, similar angel sleeves.

Headdresses [edit]

Every bit one might imagine, a adult female's outfit was non complete without some kind of headwear. As with today, a medieval adult female had many options- from harbinger hats, to hoods to elaborate headpieces. A woman's activity and occasion would dictate what she wore on her head.

The Middle Ages, especially the 14th and 15th centuries, were habitation to some of the about outstanding and gravity-defying headwear in history.

Before the hennin rocketed skywards, padded rolls and truncated and reticulated headdresses graced the heads of fashionable ladies everywhere in Europe and England. Cauls, the cylindrical cages worn at the side of the head and temples, added to the richness of apparel of the stylish and the well-to-do. Other more than unproblematic forms of headdress included the coronet or uncomplicated circlet of flowers.

Northern and western Europe [edit]

Married women in Northern and Western Europe wore some blazon of headcovering. The barbet was a band of linen that passed under the chin and was pinned on summit of the caput; it descended from the earlier wimple (in French, barbe), which was now worn simply by older women, widows, and nuns. The barbet was worn with a linen fillet or headband, or with a linen cap called a coif, with or without a couvrechef (kerchief) or veil overall.^[28] It passed out of manner by mid-century. Single girls simply braided the hair to keep the dirt out.

The barbet and fillet or barbet and veil could too be worn over the crespine, a thick hairnet or snood. Over time, the crespine evolved into a mesh of jeweler's piece of work that confined the pilus on the sides of the head, and even later, at the back. This metal crespine was also called a caul, and remained fashionable long afterwards the barbet had fallen out of fashion.^[29] For example, information technology was used in Hungary until the beginning of the 2d half of the 15th century, as it was used by the Hungarian queen espoused Barbara of Celje around 1440.

Italy [edit]

Uncovered hair was adequate for women in the Italian states. Many women twisted their long pilus with cords or ribbons and wrapped the twists around their heads, often without whatsoever cap or veil. Pilus was also worn braided. Older women and widows wore a veil and wimple, and a uncomplicated knotted kerchief was worn while working. In the paradigm at correct, one adult female wears a red hood draped over her twisted and bound hair.

Manner gallery [edit]

• 

  1 – Italian gowns

• 

  2 – Barbet and fillet

• 

  3 – Women dining

• 

  4 – In a garden

• 

  five – Hood

• 

  6 – Italian mode

• 

  7 – Bride and ladies

• 

  8 – Houppelande

• 

1. Italian gowns are high-waisted. Women's hair was often worn uncovered or minimally uncovered in Italy. Detail of a fresco past Giotto, 1304–06, Padua.
2. Woman presenting a beads wears a linen barbet and fillet headdress. She besides wears a fur-lined mantle or cloak, c. 1305–1340.
3. Women at dinner clothing their pilus confined in braids or cauls over each ear, and habiliment sheer veils. The woman on the left wears a sideless surcoat over her kirtle, and the adult female on the right wears a dress with fur-lined hanging sleeves or tippets. Luttrell Psalter, England, c. 1325–35.
4. Woman in a garden on a breezy twenty-four hour period. Her kirtle sleeves push from the elbow to the wrist, and she wears a sheer veil confined by a fillet or circlet. Her skirt has a long train. Luttrell Psalter, c. 1325–35.
5. Illustration from the French Romance of Alexander, 1338–44, shows a adult female wearing a cherry hood on her head and a apparel with vair-lined hanging sleeves or tippets
6. Italian way of this menses features wide bands of embroidered or woven trim on the dress and effectually the sleeves.^[30] Siena, c. 1340
7. A bride wears a long fur-lined wearing apparel with hanging sleeves over a tight-sleeved kirtle, with a veil. Her gown is trimmed with embroidery or (more than likely) complect. A royal lady wears a blue mantle hanging from her shoulders; her hair is worn in two braids beneath her crown, Italy, 1350s.
8. An indiscreet young woman wears an early houppelande and poulaines, the long pointed shoes that would be worn through almost of the adjacent century by the most fashionable. Her pilus is wrapped and twisted around her head, late 14th century.

Footwear [edit]

Conservative (left) and high-mode (right) shoes of the late 14th century

Men habiliment snug boots with cuffs for fencing, late 14th century. These are near certainly not cuffed boots, but rather hose which take been rolled down over garters. This was common practice during this period for workers.

Footwear during the 14th century generally consisted of the turnshoe, which was made out of leather.^[31] It was stylish for the toe of the shoe to be a long signal, which oftentimes had to be stuffed with material to continue its shape.^[32] A carved wooden-soled sandal-like type of clog or overshoe called a patten would often be worn over the shoe outdoors, as the shoe by itself was generally not waterproof.^[33]

Working class clothing [edit]

• 

  Storing olives

• 

  Threshing

• 

  Cheesemaking

• 

  Milking

• 

  Fishing

• 

  Conveying water

• 

  Storing wood

• 

  Harvesting grain

Images from a 14th-century manuscript of Tacuinum Sanitatis, a treatise on healthful living, prove the vesture of working people: men vesture brusque or knee-length tunics and thick shoes, and women wear knotted kerchiefs and dresses with aprons. For hot summer work, men wear shirts and braies and women wear chemises. Women tuck their dresses upwards when working.

Meet also [edit]

• Byzantine dress

Notes [edit]

1. ^ Laver, James: The Concise History of Costume and Fashion, Abrams, 1979, p. 62
2. ^ Fernand Braudel, Civilisation and Capitalism, 15th-18th Centuries, Vol 1: The Structures of Everyday Life," p. 317, William Collins & Sons, London 1981
3. ^ Singman, Jeffrey 50. and Will McLean: Daily Life in Chaucer'due south England, page 93. Greenwood Press, London, 2005 ISBN 0-313-29375-9
4. ^ See discussion in Laver: The Concise History of Costume and Way
5. ^ Singman & McLean, id, p. 94
6. ^ a) Donald Rex in Jonathan Alexander & Paul Binski (eds), Age of Chivalry, Art in Plantagenet England, 1200–1400, p 157, Purple Academy/Weidenfeld & Nicolson, London 1987 and b) An Introduction to a History of Woodcut, Arthur 1000. Hind,p 67, Houghton Mifflin Co. 1935 (in the USA), reprinted Dover Publications, 1963 ISBN 0-486-20952-0
7. ^ Donald King in Jonathan Alexander & Paul Binski (eds), op cit, p 160
8. ^ id, p. 95
9. ^ Koslin, Désirée, "Value-Added Stuffs and Shifts in Meaning: An Overview and Case-Report of Medieval Cloth Paradigms", in Koslin and Snyder, Encountering Medieval Textiles and Wearing apparel, pp. 237–240
10. ^ Black, J. Anderson, and Madge Garland: A History of Fashion, 1975, ISBN 0-688-02893-iv, p. 122
11. ^ Crowfoot, Elizabeth, Frances Pruchard and Kay Staniland, Textiles and Clothing c. 1150 – c. 1450, Museum of London, 1992, ISBN 0-11-290445-9,
12. ^ Georges Duby ed.,A History of Private Life, Vol ii Revelations of the Medieval World, 1988 (English language translation), p.571, Belknap Press, Harvard U
13. ^ Netherton, Robin, "The Tippet: Accessory after Fact?", in Robin Netherton and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles, Volume one
14. ^ Favier, Jean, Aureate and Spices: The Rise of Commerce in the Middle Ages, 1998, p. 66
15. ^ ^{a b c d e f g} Singman and McLean: Daily Life in Chaucer's England, p.101
16. ^ There is a famous surviving case in the Textile Museum at Lyon, called the "Pourpoint of Charles of Blois". Information technology is fabricated of highly tailored silk brocade (a total of twenty pieces of the brocade) with gold threads and lined with linen canvas. It is quilted throughout, probably stuffed with cotton wool. Description and photos Archived 2009-x-nineteen at WebCite and some other photograph, several in color. Archived 2009-10-nineteen.
17. ^ id. p. 97
18. ^ Continuation of a relate of Guillaume de Nangis, Archives Nationales, Paris. Quoted in: Fernand Braudel, Civilization and Commercialism, 15th-18th Centuries, Vol 1: The Structures of Everyday Life," p. 317, William Collins & Sons, London 1981
19. ^ "Medieval Clothing Facts and data - Medieval wearable history, fashions". Ashevillelist.com. Retrieved 2012-06-12 .
20. ^ Claude Blair in Jonathan Alexander & Paul Binski (eds), Historic period of Knightly, Art in Plantagenet England, 1200–1400, Royal University/Weidenfeld & Nicolson, London 1987, p 480.The effigy and arming-glaze of the Black Prince
21. ^ Barbara Tuchman;A Distant Mirror, 1978, Alfred A Knopf Ltd, p456, quoting Vaughan's biography of Philip.
22. ^ Laver, Concise History of Costume and Fashion
23. ^ Claude Blair, in Alexander & Binski, op cit pp 169–seventy
24. ^ Singman and McLean: Daily Life in Chaucer's England, folio 98
25. ^ History of Nightwear (German)
26. ^ La Cotte Unproblematic
27. ^ ^{a b} Payne, Blanche: History of Costume from the Ancient Egyptians to the Twentieth Century, Harper & Row, 1965
28. ^ Laver, James: The Curtailed History of Costume and Fashion, Abrams, 1979;
29. ^ Payne, History of Costume
30. ^ Boucher, xx,000 Years of Fashion
31. ^ A Practical Guide to Reproducing 14th Century Shoes
32. ^ Singman, Jeffrey Fifty. and Will McLean: Daily Life in Chaucer's England, folio 114. Greenwood Press, London, 2005 ISBN 0-313-29375-9
33. ^ id. p. 116

References [edit]

• Alexander, Jonathan, and Paul Binski (eds), Age of Chivalry, Art in Plantagenet England, 1200–1400, Royal Academy/Weidenfeld & Nicolson, London 1987
• Black, J. Anderson, and Madge Garland: A History of Manner, 1975, ISBN 0-688-02893-4
• François Boucher; Yvonne Deslandres (1987). 20,000 Years of Mode: the History of Costume and Personal Adornment (Expanded ed.). New York: Harry North. Abrams. ISBN0-8109-1693-two.
• Crowfoot, Elizabeth, Frances Prichard and Kay Staniland, Textiles and Clothing c. 1150 -c. 1450, Museum of London, 1992, ISBN 0-eleven-290445-9
• Favier, Jean, Aureate and Spices: The Rise of Commerce in the Middle Ages, London, Holmes and Meier, 1998, ISBN 0-8419-1232-seven
• Kohler, Carl: A History of Costume, Dover Publications reprint, 1963, ISBN 0-486-21030-8
• Koslin, Désirée and Janet Eastward. Snyder, eds.: Encountering Medieval Textiles and Clothes: Objects, texts, and Images, Macmillan, 2002, ISBN 0-312-29377-1
• Laver, James: The Curtailed History of Costume and Manner, Abrams, 1979
• Netherton, Robin, and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles, Book 1, Woodbridge, Suffolk, U.k., and Rochester, NY, the Boydell Printing, 2005, ISBN 1-84383-123-6
• Payne, Blanche: History of Costume from the Ancient Egyptians to the Twentieth Century, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS
• Singman, Jeffrey L. and Will McLean: Daily Life in Chaucer's England. Greenwood Printing, London, 2005 ISBN 0-313-29375-ix
• Veale, Elspeth M.: The English language Fur Trade in the Later Middle Ages, 2nd Edition, London Folio Society 2005. ISBN 0-900952-38-five

External links [edit]

• Medieval clothing and embroidery
• Digital Codex Manesse
• 14th Century at de Vieuxchamps ^{[ permanent expressionless link ]}
• The Cotehardie & Houppelande Homepage
• Translation of French 19th-century volume on the history of French manner (all periods) from the University of Georgia. txt file
• Glossary of some medieval vesture terms Archived 2016-12-28 at the Wayback Machine
• La Cotte Unproblematic – a site with detailed research information and instructions on the structure of 14th- and 15th-century European vesture, especially female dresses

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