Fashion Show - Autumn 2005

Part 3

1450-1485 Padded Jack
Maker: Debbie of Debbie Lough Costumes
Model: Martin

Padded armour has been worn for millenia, both as stand alone defence and as support for additional armour. The guild of tailors and linen armourers was given it's first charter in 1427 by Edward III.
Padded jacks were a form of stand-alone armour and they were very often white. They were 'stuffed' (meaning quilted) with various materials, probably whatever was to hand. Contemporary descriptions mention rags, wool, straw, cotton, raw flax, and layers of linen. There was even a law banning unscrupulous linen armourers from using rotten linen.

This padded jack is based, somewhat loosely on a surviving jack, dated to the third quarter of the 15th century. The original is almost certainly a soldier's jack, rather than that of a nobleman, in contrast to most extant pieces.
The original is made of an outer layer of linen, padded with layers of raw cotton and linen, and lined with fustian. The sleeves ( if they existed) are now missing and a large portion of the outer layer has been painted black ( possibly as a form of waterproofing). The jack is basically made up of a padded outer layer, and a slightly less padded lining layer, individually quilted, and sewn together only at the edges.
This version of the jack has an outer layer of Irish linen, padding layers of heavy linen and cotton batting and is lined with Belgian linen. The construction is basically the same as that of the original with an inner layer of quilting, and an outer one.
This jack fastens by means of hand-made iron hooks and eyes, over a port-piece - a padded flap that protects the opening. It also has the addition of underarm gussets, allowing much improved arm movement.

The sallet is of a style from the 1470s and has been made and loaned by St George's Armouries

Late 15th Century Civilian clothing
Maker: Lesley Thurston
Model: John

This gentleman is wearing an outfit for the petit-bourgeoisie - predominantly of the period 1480 - 1490 but with a dagged blade hat more typical of the wearer's younger days in the late 1470s. The overall influence for this outfit is Burgundian and English.
The full ankle length gown is of a weight and colour which in the period would have been referred to as 'scarlet' - that is, a high quality cloth dyed using kermes. It is the ubiquitous 'violet gown' mentioned in so many wills and probates of the period.

Under this John is wearing a blue brocaded wool doublet based on one in the Memling altarpiece ( in the Memling museum in Bruges)
The tight sleeves indicate the status of the wearer - limiting his freedom of movement and the open forearm shows off the quality of the fine linen shirt underneath.
The fastening at the top and bottom of the doublet leaves a clear area of white linen which highlights the pendant on the collar - this one here has been provided by Spike of Artifex.

The joined hose are typically tight-fitting - again to indicate high status and the two-strap shoes are Burgundian in style.
John normally wears this costume when giving performances of late 15th century court dances.

Late 16th Century Court dress
Maker: Gini of Chimera Costumes
Model: Tony

This is a representation of dress from the court of Elizabeth I. This gentlemen wears a full suit of velvet which has been embroidered and embellished with gold lace. The black cloth indicates wealth becasue black was an expensive colour to dye - requiring several dye baths to achieve the correct depth of colour.
The gold embroidery threads and lace would have been made with real gold wire and therefore not only expensive but also heavy.
The doublet is made of crimson silk and is padded internally to give the fashionable 'peascod belly' front shaping. It is very close fitting with many buttons at the front and wrist. The jerkin worn over the top is made to look like a doublet and would have been worn as an extra layer for fashion or warmth. It would never have been worn without a doublet underneath.

The paned 'trunk-hose' again are embroidered and the tight 'canions' around the knees help to support the upper paning into a fahionably rounded shape. There may also have been padding inside to help them keep their form. The outfit is completed by a flamboyant hat with an extravagent feather, a starched linen ruff and a wonderfully impractical shoulder cape.