#Medieval costumes

[cressida-jayoungr]

One Dress a Day Challenge

October: Silver Redux

Maximilian and Marie de Bourgogne (Maximilian: Das Spiel von Macht und Liebe) / Christa Théret as Marie of Burgundy

Marie wears this magnificent silver brocade gown when meeting Maximilian (whom she has already married by proxy) in person for the first time. As she tells him, Burgundy is the capital of cloth-making.

The historical event on which this is based took place in 1477. The costume designer for this series is Thomas Oláh.

We see Marie with three different variations of hairstyle and headdress with this gown (see below). I'm not sure about the period-authenticity of that pearl-studded tiara, but it is pretty. And at least she wears her hair up, unlike the heroines of many other historical productions.

[tromroan]

Commissioned to design some costumes for a friend of mine's Commedia dell'arte inspired chamber opera!

[eve-to-adam]

If you continue with the EOY art I’d love to see your take on her wedding or coronation dress 💗💗💗

Hello! :)

Thank you for this message and for the appreciation you show me regarding my art! Your interest in my artworks makes me very happy! <3333

I'm thinking of continuing, if there will be designs that suit her, regardless of whether they will be consistent or not. I thought, of course, about the possibility of creating some outfits/illustrations with these moments. The only difference would be the fact that I have to do some research, to see if there are descriptions of her outfits on these two occasions, since the designs I have made so far have been purely fictional, even if the elements were inspired by manuscripts more or less contemporary. If there are descriptions, I would like to use the details in the process of creating the outfits. If not, I will improvise, as I have done so far, haha.

Whatever it turns out to be, I'll be excited to work on the designs when the opportunity arises!!

Thanks again for the message! :D Wishing you a pleasant day/evening!

[septembergold]

[chazgew]

liv tyler

Outfit Appreciation ➝ Arwen

[sidecast]

i looove the miku trend. nomadic horselord hungarian miku be upon you

[costumesinaustralia]

The allure of the medieval era has captivated many, from history enthusiasts to casual fans of fantasy. One of the most immersive ways to connect with this fascinating period is through the donning of medieval costumes. These garments, often elaborate and steeped in historical significance, provide a tangible link to the past, allowing wearers to step into the shoes of their ancestors, if only for a moment.

[fox-teeth]

Why do people keep on giving me horrified looks in the train station. It’s Halloween, I’m a bunny 🐰

Cute little medieval bunny 🐰

[seren-dipitous-art]

If chaos was personified I think it would be Damian. Tiny child filled with rage and equipped with far too many weapons.

They look SO CUTE altogether!!

I love this au so much. Bats on thrones makes me so happy.

[myfandomprompts]

HOUSE OF THE DRAGON SEASON 2 OUTFITS

[grandkhan221b]

I've been slowly obsessing more and more about asoiaf fashion in the past 6 month, and really developing in details how it would look in different regions, classes, etc (the North being the one I have the most complete picture on). And I wanted to put some of this to paper instead of endlessly turning it in my head before I go to sleep. Usually when I costume design it is confined to a specific character, I've never done like worldbuilding fashion design, but idk asoiaf really gets me going.

So here's the North ! I could have kept going and added more stuff, but if I try to spew all the shit that's in my head I'm never gonna finish this x) So I focused mostly on great houses/nobles fashion for this. Maybe I'll do a sheet for smallfolk or practical clothing like battle armour after I'm done with all the kindoms. I already have to continue the anti AI quest...

More asoiaf fashion

[cressida-jayoungr]

One Dress a Day Challenge

October: Gold Redux

The White Queen (episode 2, "The Price of Power") / Rebecca Ferguson as Elizabeth Woodville

Costumers like to use gold for coronation scenes, it seems, although historical record says that Elizabeth's actual coronation gown was purple. This one looks great on Rebecca Ferguson, though, so I'm not really complaining.

Nic Ede, the costume designer for the series, had this to say about the material in the behind-the-scenes-featurette: "I came across this extraordinary sort of gold crochet, which was unbelievable. It's been decorated with pearls, and it looks like a million dollars onscreen." While I doubt it is period accurate, I have to agree that the effect is spectacular, and suitably ornate. The ermine-trimmed cloak really adds the finishing touch.

[airitree]

~THE PRINCESS BRIDE~

But it is (loosely) historically inspired by the late 1400s... I'm also starting to understand horses now

[Prints are available on my shop!]

[the-merry-otter]

I think the times I feel The Most Like A Medieval Person is when I’m getting out of my dress and I look EXACTLY like every manuscript drawing of a woman getting out of a dress. Like yes my bestie from 700 years ago it really do be like that

[septembergold]

[dresshistorynerd]

Sewing a turn of the 15th century French kirtle in doll scale

Another day, another historical doll outfit! This time it's Late Medieval. This was a popular style from about 1380-1420 France and Alpine area, but I specifically based this dress on French illuminations from the early 15th century, which mostly effects the details, like headwear. As always I hand stitched everything and stuck to historical construction methods as much as I could.

Chemise

I made a very simple chemise. The construction is based on what we know from extant finds, made out of simple rectangles and triangles, like earlier unlaced kirtles. Based on illustrations, chemise was fairly slim but unfitted enough it didn't need closures. I made it from linen, because it's not very gathered and won't bulk up too much, so I don't need to use my very fine cotton voile.

Cote

Cote is just the French word for kirtle, so appropriate here. This is the supportive layer cote, which was sort of an undergarment, but was considered fully dressed, if informal on it's own. The sleeves on this underlayer were always long and either fully fitted or gathered at the wrist. Some fitted sleeve styles had a flare at the wrist which covered the hand. The very fitted look was achieved with buttons. The silhouette was smooth and fitted, the waistline was slightly above the natural waist, though that was not as pronounced in France as in Northern Italy. Abdomen was emphasized, round lower stomach was the body ideal. The cut of the dress left plenty of room there. To fill that room I folded the chemise under the abdomen as a sort of padding. This was common to do with any kind of skirts, primarily to raise the hem when working, but why not for this purpose also? The necklines were fairly low and very wide.

I used cotton because I didn't have suitable thin enough wool that wouldn't have created too much bulk on this scale, but the cote should have been made from. The cotton is tightly woven and sells the look of a woven wool in this scale well enough for me. I didn't finish seems or line it to avoid bulk. I did give the lacing a cording to reinforce it and avoid wrinkling. The cotton was originally white, but I dyed it with iron oxide, basically rust, which at least is very much historical.

Hose

I made the hose from cotton as well for the same reasons as I did the cote. Long pointed style became fashionable around this time, as well as sewing leather soles in the bottoms of the hose instead of using shoes. Though often pattens (wooden flipflops basically) could be used when walking outside to protect the leather soles.

Cornettes or horned hair

I tied the hair with a tape on cornettes, where the volume of hair was tied on the temples to create a bit of horned appearance, especially when combined with the horned headwear. The sort of fillet which became more of a forehead loop seemed to have been tied into the hair, which I did.

Cotehardie

Cotehardie meant literally "bold cote", and in France that was what the formal outer cote was called. It was basically the same as cote, but made from more expensive materials and often had large hanging sleeves. I went with widening triangular sleeves, since they were perhaps the most popular sleeves at the time. I used fine fulled wool (verka) I had enough scraps left from. White fur was popular lining material, but obviously I can't use fur in this scale, I wish I had some light white velvet, it would have been pretty good, but I didn't. I lined the skirt and the sleeves with white cotton to imitate the look without adding too much body or extra bulk. I decorated the neckline with a simple golden trim. I thought about adding a bit of golden embroidery around it too, like seemed to have been popular, but my local crafts store had run out of golden thread so I decided to go with this only.

Accessories

Unlike the belt used with houppelande, which was below bust, the belt used with the kirtle or cotehardie, was very low, under the abdomen to emphasize it. I went for a silk belt look, which I'm imagining is embroidered/woven with golden thread, since embroidery that small would have been too painful. I had an old broken necklace, which I could use for the metallic parts.

With the pouch I went for the tasseled drawstring look, with simple embroidery manageable in this scale. I used linen for it.

Headwear

I made her a chaperon, which likely was where the escoffion got it's beginning, escoffion being the round tube-like headwear worn on top of the head seen in several primary source images above. Early form of escoffion was becoming very popular at the time, though chaperon's were still seen on women too. Chaperon, as seen below both on the left-most woman and the man in the middle was actually just the hood rolled into a circle.

Because the horned look was popular, the escoffion and chaperon were often worn over the wired horned veil, so I first made that. I made it from cotton to make it as light as possible. It was just a square I hemmed. I just used some wire to poke out the horns from her hair and pinned the veil close from the back and onto her hair from the top.

Then I made the open hood. It was just the regular hood which had become very popular during the last century and which had ever longer narrow tip, but it was pinned and worn open, probably because of the hair style and to again create the horned look. I made if from the same cotton I made the hose, even though it too should be from wool. But it was already too bulky as it was.

And finally I could make the chaperon. Here's first chaperon without wire or veil under it and then with those. The effect isn't as pronounced as I would have hoped because the hood is too bulky, but there is an effect which is nice.