The Honorable Lady Muireann ni Riordain, 6th century upper class Byzantine

The Honorable Lady Muireann 's outfit is based on the style of a 6th century, upper class Byzantine woman. The bottom of her outfit consists of a plain white linen tunic. Over that is worn a dalmatica, made of brocade and beaded with malachite. The cuffs are a green and gold brocade with pearls. The same brocade was used to make the collar, or superhumeral, which is embellished with glass cabochons, pearls and garnets. Her hair is dressed in a style reminiscent of Classical Greece, as was popular during the early Byzantine era. The shoes are simple red slippers.

Beginner source: Veleda of Isenfir. Fashion at the Center of the World. Moongate Designs, 1986.

Intermediate source: Houston, Mary G. Ancient Greek, Roman and Byzantine Costume and Decoration. London: AC Black, 1947.

Advanced source: Mathews, Thomas F. Byzantium: From Antiquity to the Renaissance. New York : Abrams, 1998.

Website: Bowers, Donna. The Byzantine World. http://members.tripod.com/~BlackTauna/byzantine.html

Master Finnr Grimulfson, Manx, first half of the 10th Century

Master Finnr Grimulfson graces the stage as a well off Manx Farm owner, from the first half of the 10th Century. Manx clothing is equated to Viking, but with Irish influences. In this case the main Irish influences are the shaggy cloak and Irish style cloak pin. Master Finnr is wearing center seam hide shoes, based on examples from Hedeby and Yorvik. With Naalbent socks- based on an example from Jorvik. His Trews are made of wool, based on trousers from Thorbjerg Mose. The Under tunic is made of silk, based on several tunics from bog finds in Norway, Sweden and Denmark, with an over tunic of wool, in a window pane plaid, using the same pattern as the undertunic. The next layer is a shaggy Irish style cloak suggested by finds on the Isle of Man. The Cloak pin is based on many examples from around the Irish Sea-and is Irish in origin.

Beginner source: _The Vikings Recreated in Colour Photographs,

Europa Militaria Special No.6_, Nurmann, Schulze, & Verhülsdonk, Windrow&

Greene Publishing, ISBN 1-85915-058-6.

Intermediate source:_Equipment Guide No.1-Basic Costume_ available from the VIKINGS! English reenactment group for $15. Order from their Society Publicity Officer- tigmouse@lineone.net

Website: http://www.cs.vassar.edu/~capriest/vikresource.html

Lady Ysolt la Bretonne, 11-12th C. middle class

Lady Ysolt is wearing a style of dress that was popular in 11th-12th centuries, as seen in various countries and classes. Her underdress is a long red wool tunic made from the rectangles and triangle gores technique that conserves fabric. Note the tightly bunched lower sleeve. This style is achieved by the sleeves being made longer than the arm, stitched fairly snugly beyond the wrist then pushed up to produce the shirred effect. The shorter over tunic is made in standard T-tunic style without gores. Both garments will be embroidered or trimmed at a later date. Under the gowns is a plain camise- a tight-sleeved underdress made of cotton in this instance, but would have been made out of linen in the period. On her head she wears the late twelfth century headdress consisting of a Veil and barbette of silk topped with filet. The barbette is the band that encompasses the chin, and the filet is the ring like hat that sits on top of the veil.

Beginner sources: Kohler, Carl (editted and augmented by Emma Von Sichart, translated by Alexander K. Dallas). A History of Costume, Dover Publications, 1963 from 1928 original. ISBN 486-21030-8

Yarwood, Doreen. European Costume: 4000 Years of Fashion, Bonanza Books, 1975. ISBN 0-517-37739-X

Intermediate source: Nicollette, Angelina. Costuming to a T. Compleat Anachronist #14, 1984.

Web-site: http://www.geocities.com/aenor_anjou

Mistress Maddalena Jessamyn di Piemonte , 13th century Spain

Mistress Jessamyn is wearing an ensemble from 13th century Spain as seen in the Cantigas de Santa Maria. Next to her skin she wears a²camisa magordanda² (chemise with embroidery). Over that she wears a sleeveless ³saya² (gown) ³encordadas² and ³cosedizas² (open, with no sleeves). Her outer layer is a ³pellote² (surcoat) with a lozenge pattern. On her head she wears a high, pleated ³toca².

The lady below to the right is dressed for travel in 13th century Spain, wearing a cloak called a ³garnacha². Over her plain ³camisa² (chemise) she wears a ³cota², sometimes called a ³pellote². She has a smaller, pleated toca on her head

Sources: Carretero, Concha Herror. Museo de Telas Medievales-- Monasterio de Santa Maria la Real de Huelgas, Burgos Patrimonio Nacional. The ISBN is 84-7120-127-5

Anderson, Ruth Matilda. (1942). ³Pleated Headresses of Castilla and Leon (12th and 13th Centuries)². In Notes Hispanic, 1942, p.50-75. excellent

Bernis, Carmen . (1956). Indumetaria Medieval Española. Madrid: Institute Diego Velasquez. through late 15th c.

Lovillo, José Guerrero. (1949). Las Cántigas: estudio arqueolólogico des sus miniaturas. Madrid: Instituto Diego Velásquez. good categorization of clothing types, but questionable because of pattern conjecture...also weapons, architecture, clerical vestments

Lady Derdriu is wearing a lovely heraldic cotehardie in the style of a late 14th Century person of lesser nobility. This pattern was developed by Countess Kynneburh Boutoile . The pattern was block printed by Lady Derdriu of an heraldic symbol from her Master's arms. On her head she wears a version of the hood placed with the facial opening on the head. She wears 14th century poulaines on her feet.

Beginner source: Houston, Mary G. Medieval Costume in England and France the 13th 14th and 15th Centuries. Dover, 1996 ISBN 0-486-29060-3

Intermediate source: Kohler, Carl. A History of Costume. New York : Dover, 1963 and 1928. ISBN 0-486-21030-8

Website: http://www.pipcom.com/~tempus/cotelande/welcome.html

Lord Andrew Grey and Lady Sorcha de Glys, 14th C. England

Lord Andrew Grey is wearing the garb of a squire in the late 14th century in England. The men's cotehardie is starting to resemble the houpelande with an early version of "poky" or "bag" sleeves, yet still maintaining it's short length. This is considered a transitional garment and its basic shape can be found from the end of the 14th to the beginning of the 15th century throughout Europe. Although you can't see them, his white linen undergarments were common as everyday wear. The woolen hosen have not changed a whole lot in design since the 12th century but are sporting fancy garters that have become quite the rage during this time. His pattens are from a pattern in the Museum of London Shoes and Pattens book and the leather shoes are from a combination of patterns in the same book. The lyre pipe hood and coif tops off the look for the late 14th century man.

Lady Sorcha de Glys is wearing a basic blue linen cotehardie with cloth buttons, which was popular throughout the 14th century, under a striped sideless surcote. Musicians and entertainers often wore crazy striped patterns during the 13th and 14th centuries, but occasionally the ladies of the court took a fancy to them as well. Although the sideless surcote was worn from the 13th to 15th centuries, this shape and style can be documented to between 1340 and 1380. The short veil attached to the coif hat was a popular accompaniment to the cotehardie and sideless surcote. The blue leather belt, similar to her husband's, is studded with mounts found in the Museum of London Dress Accessories book. Her cloth shoes are from a pattern (#28) in the Museum of London Shoes and Pattens book. They are many layers of fabric that lace on the side, attached to a leather sole, perfect for dancing!

Sources for Lord Andrew and Lady Sorcha:

Beginner source: _Medieval Costume in England and France, The 13th, 14th, and 15th Centuries_ by Mary G. Houston.

Intermediate source: _Dress in the Middle Ages_ by Francoise Piponnier & Perrine Mane

Lady Brighid nic Thighearnain, English gown , early 1400's

Lady Brighid is wearing an ensemble based on the grave effigy of Millicent Bekeryng, wife of Sir William Meryng, circa 1419. The outer gown is a houppelande, made of a fabric adorned with block printing, a technique used to embellish less-expensive materials, which can be documented to the time period. The gown is fully lined in white linen -- with the era’s fashionable turned-down collar -- and laces up the front over an underddress of ecclesiastic brocade. A wide belt, stiffened with buckram and backed with velvet, is worn above the actual waist as seen in period paintings and tapestries. Wide sleeves turn back at the cuff to reveal their white lining and sleeves of the underdress, which are close-fitting to just below the wrist. The headdress is of the box caul variety; these are the widest one usually ever sees from the period. The cauls are beaded with faux pearls. An understructure of velvet-covered wire extends the shoulder-length silk veil to an even greater width.

Sources: The gown was made from the Medieval Miscellaneous Pattern No. 26, which contains extensive original documentation.

Beginner source: "The Book of Costume, by Millia Davenport, is a good beginning book with original sources of documentation.

Intermediate source: "A Visual History of Costume: the 14th and 15th Centuries" by Margaret Scott contains the effigy of Lady Millicent and other excellent original sources.

Advanced source: "The Craftsman’s Handbook" by Cennino d’Andrea Cennini, written in the early 1400, offers period instructions and documentation on block printing fabrics.

Website: Cynthia Virtue’s website, at http://www.virtue.to/articles/Index.html#Clothing contains detailed instructions on making headdresses and houppelandes for the 15th century and includes many images and tips on wearing and storing them.

Baroness Genvieve d'Aquitaine , 15th C. Middle Class Italian Renaissance

Baroness Genevieve is dressed in a 15th century Italian gown that was worn by the middle class and lower nobility. This gown is mainly seen in artwork from and around Florence from 1460 to 1485. Her first layer is a chemise consisting of rectangular sleeves and body pleated or gathered onto bands at the neckline and cuffs. The outer gown is simply constructed. The bodice is four pieces, two each on the front and back, with lacing up the front. The bodice ends at the last rib, instead of at the natural waist. The skirt is a long rectangle pleated at the high waistline using one of a variety of methods. The sleeves may be laced in or attached, but fit closely into the arm hole. The hair would typically be bound, braided or taped, and/or with a coif overall.

Sources, Paintings: Cossa, Francesco del, Allegory of March: Triumph of Minerva, c.1476-84, Fresco, 500 x 320 cm, Palazzo Schifanoia, Ferrara

Piero della Francesca, Madonna del parto, c.1467, Detached fresco, 260 x 203 cm, Chapel of the cemetery, Monterchi (Arezzo)

Website: Genevieve's class notes: http://polaris.umuc.edu/~jthies/mcitalrennotes.html

Lord Kevin of Thornbury and Baroness Gwendolen ferch Cadwaladr ap Rhys ,
mid 1530's upper class English

Lord Kevin is adorned in the style of the mid 1530's upper class English Tudor. His ensemble was created by THL Muireann ni Riordain. He is wearing a gown made of silk velvet, with a turned-back fur-lined collar. Under that he has a skirted jerkin made of brocade. The skirt is pleated on with box pleats following the design of the brocade. Under that is a doublet made of linen. The sleeves are paned, allowing the shirt to puff out, and sewn together at intervals with gold buttons. The undermost layer is a white linen shirt, with blackworked collar and cuffs. He wears a black velveteen flat cap with ostrich feathers and baubles. His shoes are typically Tudor, with wide toes, and his hose fashionably match the color of his shoes.

Baroness Gwendolen is beautifully clothed in the style of the early 1530's upper class English Tudor as well, also made by the talented Muireann ni Riordain. The gown is cotton velvet, laced in the back and with a split skirt. The sleeves are bell-shaped so that they can be turned back to show the fur lining. Her under sleeves are sewn together at intervals with gold buttons matching Kevin's doublet, and the fabric is of the same brocade as the underskirt. The sleeves of her white linen chemise puff out from the gaps in the undersleeves. She wears a French hood which was very popular at this time.

Sources for Kevin and Gwendolen's oufits:

Intermediate : Ashelford, Jane. A Visual History of Costume: The Sixteenth Century. Pub Drama Book Publishers, New York, © 1983 (out of print)

Hunnisett, Jean. Period Costume for Stage and Screen: 1500 – 1800. Pub. Unwin Paperbacks, © 1988.

Advanced: Batschmann, Oskar and Pascal Griener. Hans Holbein. Princeton: Princeton University Press, 1997.

Website: Eakins, Laura. Tudor History. http://www.tudorhistory.org/

Countess Adelicia of Cumbria, Middle class German Renaissance, early 1500's

Countess Adelicia is clothed in a Middle class German Renaissance Gown from the early 1500's.  The dress is made of wool and is trimmed in velvet ribbon at the neck, arms, and twice at the bottom of the dress. It has a front closure, slightly high waist line and tight sleeves and a square neckline. The dress is worn over a chemise and one petticoat, and is completely lined. It was patterned after several paintings; "Unknown Lady" by Joos Van Cleve 1527, Holbein theYounger's "Dorthea Kannengiber" 1516, and Albrecht Altdorfer's "Unknown Woman" of unknown date.

Beginner source: Racinet, Albert "The Historical Encyclopedia of Costumes", Facts on File, Inc., New York, 1988. Page 167, the first and four pictures in the bottom row. Noblewomen from Nuremberg.

Intermediate source: The paintings listed above.

Websites: These paintings can be viewed on the web at http://www.marquise.de/material/1500 or mateial/weigel.

http://www.vertetsable.com.

Baron Corun MacAnndra, very late 1500s upper middle to upper class Elizabethan

Baron Corun is richly dressed in the style of the very late 1500s Upper Middle to Upper class Elizabethan garments. He is sporting a dark emerald green brocaded doublet with seed pearls sewn on. Venetian style breeches in light green and greenish gold stripe pattern (complete with proper fly opening,). White hosen and low shoes. Over the top is a sleeveless schaube in a tawny colored brocade lined with black fur. And a black velvet flat cap. A shaube is an overcoat, sometimes sleeveless, sometimes with poofy sleeves that come to or just above the elbow, and usually either fully lined with fur or with fur on/in the sleeves and the collar down the whole front.

Beginner/intermediate source: Elizabethan Costuming - Janet Winter and Carolyn Savoy (no ISBN) This is an SCA published book (I believe) and I used it primarily to help with developing the pattern I ended up making.

Intermediate source: Patterns of Fashion - Janet Arnold (ISBN0 333 38284 6) for information on doublets and the venetian pants.

Elizabethan Costume: History and Technique - http://www.directcon.net/wander/lizcos.htm