clothing_guide_men_latest_hires.pdf

Clothing Guide - Men

version 1.1 - December 2010

Table of contents

Clothing Guide - Men

version 1.1 - December 2010

Foreword . . . . . . . . . . . . . . . . . . . . . . . . .4

Introduction . . . . . . . . . . . . . . . . . . . . . . .5

Spread Sheet . . . . . . . . . . . . . . . . . . . . . .6

Materials. . . . . . . . . . . . . . . . . . . . . . . . . .7

General Considerations . . . . . . . . . . . . .8

Underwear . . . . . . . . . . . . . . . . . . . . . . . 10

Braies/Breeches . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Shirt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Doublet & Hose . . . . . . . . . . . . . . . . . . . 14

Doublet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Hose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Outerwear . . . . . . . . . . . . . . . . . . . . . . .24

Red Livery Jacket. . . . . . . . . . . . . . . . . . . . . . . . . . 24

Sleeveless Red Livery Jacket . . . . . . . . . . . . . . . . 28

Burgundian Livery . . . . . . . . . . . . . . . . . . . . . . . . . 29

Foul Weather Garments . . . . . . . . . . . .30

Hood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Cloak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Dress Accessories . . . . . . . . . . . . . . . . .34

Laces, Points & Aiglets . . . . . . . . . . . . . . . . . . . 34

Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Shoes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Purse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Bibliography . . . . . . . . . . . . . . . . . . . . . .35

Tex t: Mathieu Harlaut

Layout: Mathieu Harlaut,

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You are free to share, to copy, distribute and transmit the work u nder the

following conditions:

Attribution — You must attribute the work to the Company of Saynt George.

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Copyrights of this document belongs to the Company of Saynt George.

Individual Copyrights for texts, illustrations and photographies are owned by

their respective authors.

Artworks: Gerry Embleton and Mathieu Harlaut

Proofreading: Bazil Barrow, Christian Folini,

Saara Folini, Audrey Harlaut, Tasha Dandelion Kelly

and Ian Pycroft.

Thanks to Gerry Embleton, John Howe and Loïc

Leymeregie.

The Company of Saynt George Clothing Guide - Men - V. 1.1

Foreword

People engaged in reenactment or living-history want more than the average enthusiast. Merely reading

about facts is not enough. History books and manuscript translations do not satisfy the appetite of those among

us who want to experience history heart and soul.

They want more, and they hunger for recreation of the past. This may sound naïve, maybe even impossible.

Reenactors are not satisfied with carrying out dry scholarly studies in the archives. They want to hear the mu-

sic, to hold the weapons, to wear the armour, to taste the bread and to smell the soup over the fire.

When Lucien Fevbre asked for a “histoire totale” he asked to have historical facts put in their geographical,

psychological and cultural context. To engage in Living-History implicates putting an accent for total insight

into our past at the centre of our activities.

For some, it is enough to think about this at our work places - daydreaming perhaps. But for others, like the

people in the Companie of St. George, it means to invest themselves fully in the project, and to undergo hard-

ships to make their period come back to life: To hear the cockerel long before dawn, to feel the needle in their

fingers, to taste warm beer in the Summer and smell the sweat after a good halberd drill.

The period in question is the age of Charles the Bold, son of Philippe the Good, Duke of Burgundy from 1467

to 1477. It is a period that is well suited for such an ambitious project. This is not just the Autumn of the Middle

Ages as Johan Huizinga puts it, but it is also the dawn of the Renaissance. Charles, Grand Master and Knight

of the Order of the Golden Fleece, was one of the very last princes with a medieval mind-set. He is also known

for radical modernisations in civil and military areas and a professionalism that was previously unheard of. The

wealth and power of Charles had no match in these years, and the cultural superiority of Flanders and Brabant is

still visible in works by famous artists like Rogier van der Weyden or Hans Memling. The Companie of St. George

sets itself in this period, when artillery was starting to become a major influence on the battle field. After more

than a thousand years, Charles was one of the first European princes to maintain a standing army. It comes as

no surprise that his ordinances attracted specialists from all over Europe. His lords followed his example and

recruited professionals into their own military companies: Groups like the Companie of St. George.

With the fall of Charles came the end of the house of Valois-Burgundy, the end of the Duchy of Burgundy and

the end of the idea of a third kingdom between France and the Holy Roman Empire. The unpleasant outcome of

his Swiss adventure also opened up the possibility of recreating the times of Charles the Bold, with a truly Eu-

ropean group of re-enactors. Nobody can claim to own the legacy of Charles, and nobody has anything to fear

from a recreation of his army. A result of this situation is the ironic fact that I am writing these words in front of

the town hall of Berne, where the bold city decided to go to war against Charles and against Burgundy.

The Clothing Guide for the Company of St. George is the result of twenty years of Reenactment and Re-

search into cloth and clothing. Countless doublets have been sewn and lots of hose have been reworked to

fit more closely. But the guide is not the final answer to questions of Burgundian military clothing in the late

fifteenth century. Quite the opposite in fact: this guide is meant to be the starting point for further research.

This is the base from which we will continue our travels into history. By recognising the conclusions drawn in

this guide and by approving the sources presented here and elsewhere, you are granting yourself entry into the

community of dedicated living-history enthusiasts everywhere. This will give you insights you cannot get from

books alone. You will not know how it feels to wear an arming doublet until you have worn one yourself. I could

tell you of course, but that just would not be the same, would it?

Dr. Christian Folini,

Berne in March 2009.

The Company of Saynt George Clothing Guide - Men - V. 1.1

Introduction

Intention

This guide describes the basic clothing that should

be worn by the men of the Companie of Saynt George,

and gives instructions and advice on how to make it.

Most, if not all, of the patterns given in this guide

are only deductions from pictorial sources, since

few original garments of those types exists from this

period. Other patterns could be as authentic, and give

similar results to what is seen in the sources, which is

our objective after all.

For each garment, a selection of pictorial sources

from the period has been compiled. A few images

from earlier or later years are also included to show

relevant information.

As such it answers several needs:

- It is meant as a beginners guide. When start-

ing living-history or joining a new group, it is usu-

ally a very long process to gather all the necessary

information to make decent clothes and some details

might even be overlooked. The same is true if an

experienced re-enactor needs to pass on information

to a beginner. This small guide should provide all the

knowledge needed to start on a new outfit and get it

right on the first try.

- It is also a reference guide for more experienced

members, a document to refer to when making a new

garment or when discussing specific aspects of men’s

clothing. Good clothes are fundamental in our activity.

Unlike other items of equipment, no one can make do

without clothing – it is the minimum requirement. On

the other hand it is quite natural that not everybody

shares the same interest in clothes and don’t make

new garments each year just for the sake of research

and experiment. It is therefore necessary to provide

a written document gathering the most up-to-date

knowledge on the subject and in the same process

rule out the errors and bad habits that are recurrent

in our field.

- As a group, the Companie of Saynt George has

chosen a background: a period, an origin, an identity…

This has a direct impact on the garments we are al-

lowed to wear. A few exceptions are welcome for the

sake of diversity, these may add to our credibility, but

it is vital that most attendees wear clothes that fit our

background. In that regard, it is necessary to define

what is logical for us to wear, from the thousands

of mainly pictorial references showing 15th century

costumes.

- It must be used as a stepping stone to further our

knowledge and understanding of 15th century male

clothing. Therefore it is not definitive, nor static, and

should be improved, modified and updated by members

whenever needed. We would greatly appreciate, and

even hope for, comments, suggestions or add-ons from

members and fellow living-history enthusiasts alike.

The Background of The Company of Saynt George

The Company of Saynt George portrays a small

castle garrison in the service of a Burgundian lord

between 1460 and 1480.

Originally it was meant to be the garrison of the

castle of Grandson, a short while before the famous

battle of the same name. In this case the company would

be serving Louis de Chalon, Seigneur de Châtelguyon, a

lord of the County of Burgundy,

vassal to the Great Duke of

Burgundy and a knight of the

Golden Fleece. Even if Louis de

Chalon was a Burgundian lord,

he possessed some territories in

this part of the Duchy of Savoy:

le pays de Vaud.

To fulfill its duty, the company has two out-of-date

breech loading cannons and employs a few artisans.

The families of the soldiers and artisans also share

this life.

We are not a company of ordinances, we are not

organized or equipped as such; even if the ordinances

might be a source of inspiration, we should not obey

them literally. We are not a band of mercenaries

either, in the way that we are not an organized group,

like Italian free companies, looking for employment

by whomever might need and pay for their service. Of

course we are professional soldiers and some of us

might be foreign mercenaries, but the Company has

one lord and will obey him and no one else.

It has always been the aim of our Company to look

realistic and believable, not like actors dressed up in

“costumes” but real people dressed in their everyday

work clothes, a small, fairly homogenous group from

the same strata of society living in the same region.

A few little traces of “foreign” clothing may be

seen, as they would, in a company that is composed

of people of different nationalities, and one that has

seen much traveling and hard service. Regular annual

issues of livery cloth and clothing and our own social

norms would bring a measure of uniformity. In fact it

would not be unrealistic if the whole company were

more or less uniformly dressed.

It is also important to state that this clothing guide

is not an essay on 15th century male costume. It

focuses only on the clothes appropriate to the back-

ground of the Companie of Saynt George. Choices have

been made, some type of garment have been ignored

intentionally. None of our conclusions are definitive,

further research changes what we know all the time.

Sources are often fragmentary, and most are a matter

of personal interpretation.

The Company of Saynt George Clothing Guide - Men - V. 1.1

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