14th/15th Century Cotehardie Wardrobe - Polka Dot Panther

A Complete 14th/15th century “Cotehardie” Wardrobe
Lady Medb ingen Echuid
daisy@daisyviktoria.com
Introduction
“Cotehardie” has become a widely used term to describe garments from the 14th and 15th centuries. In
period, these garments were also known by other names such as cote, cotte, kirtle, or simply gown –
which seems to be the most common. I believe “gothic fitted gown” is the best descriptive term,
especially for women, since “gown” can mean anything these days! I am more concerned with
perfecting the look than choosing the perfect name, but it is important to express what you are doing in
a way that others can understand.
As with many styles, this look went through adaptations and gradual changes. The look we are focusing
on is really the second half of the 14th century and into the first half of the 15th century. Note that what
we discuss here can easily be adapted to earlier 14th century and later 15th century styles with some
modification.
The gothic fitted gown, or cotehardie, was worn by all classes and all throughout Europe. It is a very
versatile style, and with just a few subtle changes and with variable fabric choices and accessories, it
was (and is) easily applied to many different lifestyles and environments.
Please note that this is an abridged form of my research on this period, and there are many more subtle
details and pieces out there. Because this style was worn in so many places over such a large time scale,
it is difficult to put every detail into a short handout. I have included what I feel are the core essentials
to achieve this look.
For working class, the later evolution of this look carried on well throughout the 15th century and was
even worn underneath the later court gown evolutions. As a general trend throughout an entire era, the
upper class would have the latest fashion and the working class would have older fashion, so you may
keep this in mind when selecting your own look. Remember that fashion evolution progressed much
more slowly than it does now, and many people would have newer gowns mixed into their wardrobe
while still wearing some older gowns.
Fabrics
Fabrics used in period included a lot of wool, as well as linen. Based on what we currently know, wool
was used as a main fabric, while linen was used for linings and undergarments. Silks and brocades
were also used, especially for upper class and court fashion.
A note on accuracy and comfort
In this period in Europe, the weather was much colder than it is in modern day Southern California. To
deal with this, one can choose carefully where to make adjustments for comfort. For example,
foregoing linings and cutting down on layers can help in many cases. Single layer linen is the coolest,
and that is what I often wear on the hottest days. During cold weather, I delight in the higher level of
accuracy I can achieve in my garb!
Hoods, Hats, and Headwear
There are many options for headwear for this era. Veils are quite universal, sometimes worn with a
wimple and barbette, particularly during the early time. Veils come in many shapes and sizes and were
sometimes frilled and sometimes plain. Coifs are also universal, especially on men, who are often
depicted wearing a coif by itself or with a hat on top. A turban wrap hat is also very universal. This
cap also serves as a handy place to pin an outer hat so that it does not slide back or fall off during the
day. Open hoods became popular during the later part of this period in the 15th century. Headwear is
usually seen in period depictions in most regions, though sometimes women are depicted wearing just
braids. The hood covers the shoulders and neck and, when pulled up, the head. The hood can vary in
length, so when making your own hood, I encourage you to think about what you will be doing when
wearing it and what functionality you require. Hoods sometimes had dags on the end and were
sometimes either embroidered, embellished, or plain. Hoods often had liripipes of varying length, and
the long ones are sometimes seen tucked into belts.
Sideless Surcote
Also known as the “Gates of Hell”, the sideless
surcote is seen most often during the earlier part
of the period and even more often in the time
leading up to this era. There are still some
sideless surcotes in 15th century artwork.
Gown and Outer Gown
The gown and/or the overgown are the central part of this ensemble and what everyone thinks of when
they hear “cotehardie” or “kirtle”. The gown has many variations. It can close in front with buttons
halfway down or all the way down (less common) or with lacing. It may also close on the sides or in
the back. Buttons seem to be more common in the earlier part of this period, while lacing is more
common later, though this is a gradual shift and not an absolute rule. The gown may have short sleeves
or long sleeves. Many women are seen wearing separate pin-on sleeves with their short sleeved gowns,
though there are plenty of working women depicted wearing just the short sleeves over the undergown.
Sleeves can have varied shapes and volume. The Italians tended more toward more voluminous sleeves
than most of the more ubiquitous fitted sleeves. Some sleeves had attached tippets. The outer gown is
an optional layer, not always present in all sources. An outer gown is very useful during extremely cold
weather and also for court functions. If worn with a pouch and belt underneath, fichets, or pocket slits,
allow easy access to the pouch. The gown underwent a transition partway through the 15th century
when a construction method began with a separately cut and attached skirt. At this time, the gored
construction was also still in effect, but a gradual transition eventually led to the later period kirtles
with more pronounced attached skirts.
Undergown
The undergown is somewhat mysterious, but we
know more about it during the later part of the
period. It seems to be some sort of chemise,
sometimes with fitted sleeves, loose sleeves, or
with no sleeves. The undergown may be fitted or
loose. Since the Lengberg bra discovery, many
images of sleeveless fitted undergowns with
attached skirts from the 15th century have turned
up. As far as we currently know, undergarments
were most often made of white linen, though silk
was sometimes used.
Drawers or Braies, Hose, and Shoes
We are not certain whether or not women wore drawers. We do know that men wore them. The hose or
stockings were often made of woven fabrics such as linen, wool, or silk. Though not an absolute rule,
they were often cut on the bias to achieve a slight stretch. Hose for women came to just above the knee.
Hose for men were long and tied on to the underwear. For both men and women, garters were worn
just under the knee to hold the stockings in place. Shoes were often pointed in the toes, and they were
normally either a boot style or a “mary jane” style.
Pouch and Belt
A belt and pouch are sometimes seen with
these gowns. The belt and pouch will be on
the outside if you are not wearing an outer
gown. If you are wearing the optional outer
gown, the belt and pouch will often be worn
underneath this layer and accessed through
fichets. The working class would sometimes
use a belt to hoist up the long skirts of their
gowns, making it easier to move about.
Apron
Aprons were sometimes worn. They are very useful amongst the
working class and appear to have reached more popularity later in
the 15th century.
Separate Sleeves
Separate sleeves were sometimes
worn with short-sleeved gowns.
These sleeves were often pinned
onto the gown sleeves. This is more
common during the later part of this
period.
Tippets
Tippets are another sleeve option more
common with court styles, as they are a
luxurious and unnecessary part of the style
that is not well suited to working class.
Tippets could be separate pieces, or they could
be attached as part of the sleeves.
Male Cotehardie
The male cotehardie is very similar to the
women's, except it is shorter. Male
cotehardies started out long, to the knee or
even to the ground, and then during the
second half of the 14th century, they
became very short.
Sources
Boucher, Francois. 20,000 Years of Fashion: the History of Costume and Personal Adornment. New York: H. N. Abrams, 1966. Print.
Cotte Simple: The elusive “cotehardie” as worn by women in the art of period.
http://www.cottesimple.com/love_layers/cotehardie_collection.html
Cosgrave, Bronwyn. The Complete History of Costume & Fashion: from Ancient Egypt to the Present Day. New York: Checkmark, 2000.
Print.
Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland. Textiles and Clothing, C. 1150-c. 1450. Rochester, NY: Boydell, 2001. Print.
Historical Embellishments – Using Bead Embroidery
http://timeless-creations.ca/Historical-Beadwork-Part-1.pdf
Hope Greenberg: 15th cent. Dresses: A Portfolio of Images
http://www.uvm.edu/~hag/sca/15th/
Netherton, Robin, and Gale R. Owen-Crocker. Medieval Clothing and Textiles.Woodbridge: Boydell, 2006. Print.
Newton, Stella Mary. Fashion in the Age of the Black Prince: a Study of the Years, 1340-1365. Woodbridge, Suffolk, UK: Boydell, 1999.
Print.
Scott, Margaret. Medieval Dress & Fashion. London: British Library, 2007. Print.