by Ian Mortimer
The end of the century sees all this experimentation come to a riotous climax of fashionable excess. To be a nobleman in the 1390s means wearing long gowns and short gowns, and gowns of medium length, cotehardies, doublets, and paltocks. Most lavish of all are the full-length gowns occasionally called “houpelands”: long, tailored garments with high waists, high collars (really high, up to the earlobes), and elaborate long sleeves with massive cuffs which hang down to the ground. In such a garment your foppish aristocrat can appear capable of tripping over his cuffs as well as the hem of his gown. At the other extreme you might prefer the “courtpiece” or courtepie, a very short doublet that not only reveals the wearer’s bottom but hangs barely two inches lower than the belt around his hips, so he can show off the bulge in the front of his tights as well as the roundness of his buttocks.10 Obviously there is a time and a place for such clothing: you would be unwise to stroll into Parliament wearing a courtpiece, for example, or to wear one to a funeral. But the end of the century marks the pinnacle in the sexualization of men’s clothing. We have come a long way since the reign of Edward I, when lords still wear tunics which hang from the shoulders like a pair of velvet curtains.
The development of men’s shoe styles is almost as radical and extreme as their clothing. In 1300 there is no real difference between left and right shoes. They might be decorated in gold, stitched very tightly so the seams are nigh on invisible, but still one shape is cut to fit both feet. Over the course of the century cordwainers—men who make the best shoes from soft Cordovan leather—begin to distinguish between left and right. The really striking development, however, is the length of the toes. In 1300 your average nobleman wears shoes which would look expensive but not outlandish: the toe is a neat little point, nothing remarkable. In the 1330s the toe begins to grow. And grow. On both sides of the Channel noblemen seem to be in competition to wear the longest shoes. Whatever the cause of this trend (length of feet and manhood?) by 1350 the artificial lengthening of the toes is well under way—six inches long, seven, eight—with the points being partly stuffed with wool to make them semi-rigid. By the reign of Richard II some lords can barely walk without tripping over their own shoes. Although older men still wear normal-length shoes under their long robes, the younger men with very short paltocks push the boundaries of style ridiculously far. The longest style of all—the twenty-inch Crackow, an imported fashion from Bohemia—is so long that its tips have to be tied to the garter. Walking upstairs in them is almost impossible.
With all the radical changes in dress and footwear, it is something of a surprise to reflect that there is very little variation in men’s hairstyles over the century. The king sets the trend, of course, but you will not notice a significant difference between the hair of Edward I and that of his son, Edward II, or even that of Edward III before the age of fifty. All three men have their hair parted in the center, kept in place by a crown or circlet, so the long locks tumble down the sides of the face to chin level. In later life, Edward III wears his hair longer, to shoulder length. Even Richard II and Henry IV do not have hairstyles very different to their predecessors—at least, not until Henry goes bald. Richard has his hair cut very slightly shorter, so it hangs down thickly over the ears and is slightly longer at the back.
All of these kings with the sole exception of Richard are noticeably bearded. Their beards may be short and bushy like Edward II’s, or long and flowing like Edward III’s in old age, or short and forked like those of the Black Prince and Henry IV. Whatever the chosen style, most secular lords wear a beard. By contrast, clergymen never do. They are shaved and tonsured (the hair cut from the top of their head) every two weeks. 11 Shaving is thus considered slightly inappropriate for a nobleman and, by implication, for a king. Richard II, who hardly has any beard at all and barely a wisp of moustache, is quite an alarming figure in some men’s eyes, because his boyishly clean face contrasts so much with that expected in a king.12 The suspicion with which he is viewed by his people for most of his reign is a telling sign of how important it is to look the part in medieval society.
Aristocratic Women
Just as it is important for clothes to reflect social rank, so too it is important that they reflect sexual differences. But how do you distinguish between male and female dress when it just hangs loosely from the shoulders? Men and women are wearing similar forms of tunics in 1300. There are differences in the neckline and the length of skirt, but the main difference lies in the way the head is presented. For the first three decades of the century, attention is focused not on your hips or breasts, nor on your arms or legs, but on your hair and face. It is not going too far to say that before 1330, in matters of clothing, men and women differ more from the shoulders up than the chest down.
By the end of the century the similarities in styles of clothing have almost entirely disappeared. Men’s clothing has become sexually more revealing whereas women’s skirts are still long and hanging. Certain rules remain unchallenged. Women may not expose their arms or legs without being deemed to have acted lewdly. Nor should an unmarried girl wear a headdress: the wimple is the preserve of the married woman. Nevertheless, this is the century during which men and women start to wear radically different clothing from each other. In the modern world, in which female clothing is more often designed to attract the attention of the opposite sex, the radical sexualization of men’s clothing is doubly surprising. It is not women’s skirt lengths which change with the times but those of men. No wonder monastic chroniclers feel obliged to pass comment: they blame the men for displaying very short skirts and well-packed hose, and they blame the women for being delighted by what they see.
Ladies wishing to cause a stir at an event in 1300 might wear a long-sleeved tunic, with a chemise or fine linen shift underneath. The sleeves to this will be sewn up after you have put it on, to bring the material close to your arms. Over this you will probably wear a sideless gown of a contrasting color; this is like a full-length surcote but with large cut-away gaps instead of sleeves (hence “sideless”). Sometimes the sides are laced up with gold threads with tassels on the ends. The sideless gown is nearly always of a contrasting color: if your tunic is red, a blue floor-length gown is most appropriate. Over the whole ensemble you might consider wearing a mantle: perhaps a gold-lined one of violet cloth, woven with vermilion and blue patterns, cut long enough to trail behind you. Alternatively you might opt for an even longer, loose-sleeved, fur-lined peliçon: this is a cope of rich fabric which has such a long train that a servant is required to carry it for you.
By the middle of the century, the sideless gown is beginning to look dated. All that cloth trailing from your peliçon looks similarly old-fashioned and impractical. Besides, it has become fashionable for women to show off their necks (low necklines start to appear about 1325) and even their bare shoulders. Tailored sleeves and buttons mean that from the 1330s you no longer have to be sewn into your clothes but can wear long gowns and buttoned cotehardies like the men. You will still wear a long shift as your prime undergarment, so your skirts remain ground length. Your sexiness is, however, enhanced by having your tunic or cotehardie cut very close around your breasts, waist, and hips, to show off your figure. Some women exaggerate their buttocks with bustles made of foxtails.13 Alternatively, you might accentuate your waist with a corset. If you go for the figure-hugging style, golden and jewel-studded belts are slung low around your hips. At the same time, your mantle should be draped at a lower level than before and fastened with a golden cord or braid just above the breasts, allowing you to show off your bare shoulders.
By 1400 the best dresses to be seen at court have very little in common with those of 1300. They are cut from similar fabrics—mainly imported from Flanders and France—but the styles are wholly different. Long full and flowing skirts of bright purple and red, often with designs of heraldic symbols embroidered into them, are trimmed with gold brocade and jewels. Over this you might wear a short bodice of a contrasting color, with a corset u
nderneath accentuating your hourglass shape, and with a matching fur-trimmed hip-length courtpiece on top, cut so that the fur rides up along the edges of the courtpiece and over your breasts and to the points of your shoulders. Gold and jeweled buttons complete the picture of an exquisite damsel. Of course, this glamorous style does not suit all sizes and shapes; there are plenty of women who would be appalled at the prospect of being clothed in the latest corset-restricted and hourglass-shaped dresses. But by the end of the century it is almost only the old, the fat, and the religious who still wear the long hanging tunics of 1300.
Nothing about the medieval female “look” would be complete without the headdress. Nor is it possible to describe the headdress without referring to hairstyles. At the start of the century, perhaps the most popular aristocratic style of coiffure is the ramshorn. The long hair (all noblewomen wear their hair long) is parted in the center; each side is woven into a single long plait; this is then wound round and round into a sort of bun or ramshorn over the ear and fastened in place with hairpins. If you are married you will wear a circlet, hood, hat, or veil on the top of the head and fasten your wimple on either side. In 1300, with your tunic reaching to the ground, and your sleeves so long they reach to your knuckles, your face and your fingers are often the only parts of your entire body which can be seen.
In the reign of Edward III everything changes. The most striking development is the practice of taking the two plaits of hair and running them up and down over your temples to form columns of plaited hair, framing your face. Often the columns of plaited hair are carefully enmeshed in golden gauze, which is the way Queen Philippa likes her hair done in the 1360s. Her exact contemporary, the countess of Warwick, has her hair similarly dressed; but rather than stiff golden columns of hair framing her face she has the two plaited columns woven into one on top of her head and then encased in a gold-lattice frame. The result is a striking arch of golden hair all around her face. These are lavish hairstyles, which take hours to set in place. Most noblewomen are happy with simply long plaits of hair, or a variation on the ramshorn style, and their circlet, coronet, or hat and a wimple (if they are married). Richard II’s wife, Anne of Bohemia, favors a single long plait down her back. Unmarried girls tend to adorn themselves with jewels in their hair—often artificial flowers made of gold and precious stones—or fur-trimmed hoods. It is highly unusual for noblewomen to appear in public with their long hair loose and free-flowing. Even if just tucked up under a coif, it will be concealed. In the previous century, and in the next one, it is common for women to wear their hair loose, but fourteenth-century noblewomen tend to do this only in the privacy of their solar chambers. Long, loose hair is generally considered seductive and so, like naked arms and legs, concealed to avoid impropriety. Only wild and wanton women dare to leave their hair undressed and loose in public.
Noblewomen’s shoes at the start of the century, like their clothes, are more or less comparable to men’s. But as male and female modes of fashion become more diverse, so too do their shoes. Women’s tunics become more like skirts and gowns but still remain long, so there is very little ostentation of footwear. Certainly there is never any call for women to wear exceptionally long shoes; they are merely an inch or so in the point. Women thus avoid the ridiculous ostentation of the Crackow.
Townsmen and Townswomen
Many of the changes in aristocratic dress are mirrored in the clothes of townsmen and townswomen—those most acutely aware of the signs of their social standing. At the start of the century the streets are full of men wearing tunics which reach down below the knee, with hose and a hood. The principal differences between their garments and those of noblemen are the length (merchants’ tunics are generally cut shorter than lordly ones) and the quality of the cloth. Much the same can be said for townswomen’s clothes in 1300: the well-dressed merchant’s wife will have her long-sleeved tunic and sideless gown, like her noble contemporary, but the fabric will be of an inferior quality. So will the furs around the cuffs and the hood. Of course, a wimple is de rigueur when outside the house for a married woman.
By the end of the century, shopkeepers, traders, and craftsmen are wearing colored hose and thigh-length cotes and doublets. Perhaps they might add a felt or beaver-fur hat, if they can afford it. Alternatively they may still have a hood. Your rich merchant is showing off as best he can with the whole houpeland and high-collar ensemble, long cuffs and all, although using a less expensive material and not having cuffs as long as a lord’s. If anyone in town is wearing a rakishly folded hood, it will be him. But the length of the toes of his shoes will not be excessive, even if he is wearing a short doublet and hose. As an alternate to cordwainers’ shoes he may well wear boots made from ordinary tanned leather or calfskin. In the latter part of the century townsmen sometimes avoid actual shoes, preferring to have leather soles sewn onto the foot section of their hose, so that their “shoes” are the same color as their leggings.
The fur-trimmed velvet jacket, so favored by aristocratic women in the 1390s, represents a style which most townswomen can only dream of. Instead they wear plain kirtles—ground-length tunics, with tailored narrow sleeves—over their linen smocks or chemises, without a surcote over the top except when the weather demands an extra layer. The Wife of Bath wears a long scarlet gown with laced scarlet stockings, new soft shoes, “a riding skirt round her enormous hips,” a wimple under her chin, a hat, and spurs. Dressed like this she does not represent the richest sort of townswoman—as she herself admits, she weaves her own cloth—but she certainly dresses to look the equal of anyone of her own class.
The laborers will be shirtless, wearing just braies, a hood, and a simple tunic—this being pulled in with a woollen or rope belt. Some hitch up the bottom hem of the tunic and tuck it into the belt to make it easier to work. Hardly any changes in their clothing are to be noticed over the century. Otherwise, only the clergy are wearing clothing similar to their predecessors in 1300. Friars, priests, and senior members of the churches and cathedrals all wear traditional tunics or cassocks, often black, off-white, and brown in color, befitting their Order and station. Franciscan friars wear grey cassocks; Dominican friars wear black. Their reluctance to adopt the new fashions is not because they do not pay any attention to clothing; the retention of the traditional, unsexy shape of the clothes is every bit as important to them as the latest fashion is to a wealthy merchant. Friars never wear socks. Not wearing something is also a way of making a fashion statement.
Countrymen and Women
You could be forgiven for thinking that the changes in dress after 1300 only affect urban social climbers and have no significant effect on the clothes of the peasantry. In the early part of the century, you would be right. Wandering along a rural lane in 1340 you will see that there is practically no difference from the clothing worn in 1300. But when everyone wears nearly the same thing it is deemed all the more important to include a little distinctive item of clothing, especially among the better-off peasants. Countrymen do not wear the parti-colored clothing of nobles and wealthier townsmen; they do not wear pointed shoes or any unnecessary and expensive items. Nevertheless, as you watch the tenants of a manor going about their business, you will notice that no two men are wearing exactly the same form of apparel.
Take a manor in Lincolnshire in 1340, for example. Over here is a better-off villein driving a team of oxen. He wears a reddish-brown tunic which reaches just below his knees, slit a few inches up the sides. On his head is a matching reddish-brown hood, with a short pointed tip (or liripipe). He wears a good-quality leather belt, a woollen light-brown supertunic, and calf-length leather boots. He holds a long whip and scowls back at the plowman who is following, supposedly guiding the plowshare. The plowman has a reddish-brown hood too but this hangs down his back. On his head he is wearing a smart felt hat with a high front brim. He also wears an undyed buttonless tunic that hangs down to his knee, with a belt, blue-grey hose, thick gloves, and laced calf-length boots. Elsewhere in the
field another villein is scattering the grain that he carries in the folded-up front of his apron. Birds swooping down to pick up the grain are picked off by a boy with a sling; he wears a short russet tunic with a linen belt, with his long hood pushed back, the liripipe hanging down well below his waist. Similar tunics of dyed cloth are worn by the lord’s servants back at the manor house but without the hood. In the kitchens some of the cooks have stripped to their braies. With the heat of the great fires and their work environment, they have no need to look their best, only to do their work.14
If you step forward in time to see these men’s grandsons in the last decades of the century, you will see brighter colors (especially red and blue cloths) and styles that have been adapted from the tunics of 1300–1340. The man driving the team of oxen now wears a leather cap and a sleeveless tabard over a long-sleeved tunic, which is short, just thigh length. As he lifts his whip arm, the edge of his tunic reveals hose which are more like trousers, held up with a rope belt. The plowman to whom he turns and scowls is wearing a buttoned short jerkin with the sleeves rolled up over his forearms and his shirtsleeves similarly rolled up. He is still wearing an old felt hat, bashed over the years, not wholly unlike that worn by his grandfather so many years before. The boy with the sling is still bare legged but he now wears a short cote with a leather belt. The servants in the lord’s manor house are much better dressed than their predecessors: in clean linen shirts and quilted doublets, hose, folded hoods or hats, with knives hanging from their belts.15 Of course, the kitchen servants are still half naked, sweltering in the heat of the kitchens. As in all ages, progress does not affect everyone equally.
