Fashion Show

Greek Hoplite c. 300 BC
Maker: Karen and John of Time Tarts
Model: Simon

The helmet of this ancient warrior is of the Corinthian type made from a copper alloy. It is this design which the medieval barrutte helmet was based on.

The body armour - "Linothorax" is made from multiple layers of linen which has been glued together. It forms a very stiff and lightweight body protection,
The fronts of the legs are protected by copper alloy 'greaves' held on by leather strapping.

With the addition of a large round shield, this warrior of 300BC is totally protected.

Roman Centurion 1st/2nd Century AD
Maker: Len and Elizabeth of Roman Reconstruction Fabrica
Model: Len'

The Centurion is identified by the transverse crest on his helmet i.e. a horse hair crest that crosses the helmet from above one ear to the other. The centurion leads his men into battle and the crest could clearly be seen by the men behind him.
He appears as on parade with his awards and torques plus his cloak. These would not be worn in combat.
The steel helmet, often silvered, forms his head protection. It has a brow reinforce to help deflect blows to the head and a deep neckguard to protect the neck. Large cheek plates complete the facial protection.
He wears a woollen tunica which reaches half way down the calves when unbelted. This tunica is pulled up to above the knees and draped. He should wear a linen under-tunic and in winter an under-binding similar to those shown on crucifixes.
Over his woollen tunica he wears a leather arming doublet with leather straps called 'pteruges', with fringes.
The mail our centurion is wearing is made up of very fine links and has shoulder doubling.
Over all this he wears his military belt, his dagger and his 'phallerre' or awards. As centurion he wears his sword on the left-hand side.
His legs are covered by silver 'greaves' which are not for protection but more a badge of office.
On his feet he wears the Roman military boots which are open leather boots with studs.

13th Century Guard corps
Maker:Sarah of Sarah Thursfield costumes
Model: Simon/Phil

The guard corps is a 13th century outer garment here made in a naturally dyes wool and lined with a contrasting wool. It is a very practical garment for travelling ( think of those long sleeves when riding out on a cold day). It was very often seen on professional men such as architects and doctors - such a large expanse of quality cloth would be seen as the mark of a rich man. Note the early use of buttons at a time when most garments were still too loose to need fastenings.

14th/15th/16th Century cap and coif
Maker: Phil of Phil Fraser's
Model: Simon/Phil

This typical medieval headwear would have been worn by all classes during this period.
The expensive hat was made from felted fur or wool depending on the wealth of the owner. It's manufacturing process resulted in a conical shaped 'hood' which would then have been steamed and moulded into whatever shape was fashionable. The pointed hat with a small turned-up brim was one of the more simple and therefore more common styles.
Obviously because of the nature of felt fabric, the hat could not be washed. This was at a time when it was not fashionable or desirable to wash the body or hair. To stop the dirt, grease and wildlife from contaminating the expensive felt hat, a linen coif was worn. The coif could easily be washed. It was of a very simple construction and would also been worn as an informal hat indoors and in bed. The poorer classes would have worn a cap similar to this in wool or leather if they could not afford a felt hat.

Medieval girls
Maker: Viv of Merchant Venturers
Models: Rosie and Tribbs

These outfits from the latter half of the 15th Century are suitable for girls in the lower middle classes.
They can afford several layers of clothing which has been tailored to fit. Their status is also shown by their hats (made by Rachel of Crafty Beggars), which protect them from the sun while they are working (even at this young age)in the fields. Also, their footwear, simple leather shoes and wooden clogs, protect their feet from the worst of the mud.
Underwear consists of a handstitched shift, over the top of which would be worn a kirtle ( 2 in winter) of either linen or wool.
Their coifs and aprons are also made of linen and would commonly not have been made from bleached white cloth but were more often coloured, for practical reasons !
Around their waists they wear leather belts from which they could hang their knife, tools, spare clothing and possibly toys.

Late 15th century Archer
Maker: Sue, Tony and Paul of Kay's Medieval Kit
Model: Paul

Paul's outfit is completely handstitched!
He is dressed as an archer of the late 15th century (towards the end of the period now known in England as the 'Wars of the Roses' ). He depicts a mature and prosperous skilled man, a fletcher as well as an archer - rather than a more ordinary foot soldier.
His padded outer garment - a jack - is worn for protection but maintains his agility: it is constructed of many layers of linen stitched and knotted together. Underneath this he has a linen pourpoint to support his hose - also linen - on points ( ties). Beneath he wears a linen shirt and braies.
Only light armour is worn: as well as a breastplate he has an archer's sallet for his head.
His low boots are made of vegetable tanned leather and are of the latest turned-welt construction. Hanging from his belt he carries a pair of pattens which will protect both boots and feet in inclement weather.

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.

Mid 17th Century Soldier
Maker: Sally of Sally Green costumes
Model: Nick

This outfit show the simple uniform which was issued to soldiers during the English Civil Wars.
The jacket is of wool and would have been lined in linen or wool with simple cloth buttons to fasten. These were one of the first garment to go into any form of mass production and costs were kept down by simplifying the pattern and minimising the amount of cloth used.
Although they were ordered and issued in bulk, they would have been dyed and manufactured in very small batches in a cottage-industry process so there would be tremendous variation in colours, cut and quality within any one issue of coats. Coat colours were chosen at the whim of the commanding officers until the arrival of the New Model Army in 1645 and this often led to confusion on the battlefield.
Underneath his issued coat most soldiers would have probably worn the remnants of their civilian clothing for extra warmth.
This soldier is carrying a Partisan which would have been the weapon of rank for a Lieutenant. On his head he wears an infantry 'pot' and would also have been protected on the battlefield with a beast and back-plate and possibly steel tassets ( skirts) to protect the upper legs. The pot and partisan have been made by '2Js armourers'

Mid 17th Century Officer
Maker: Jill of Fredrick & Knights
Model: John

This gentleman from the same period as the soldier wears his own civilian clothing along with several items which mark his rank as an officer and gentleman.
He shows his wealth as a gentleman by the display of a tailored suit in fine quality wool decorated with lace, a fur felt hat with expensive ostrich feathers imported from Africa and delicately starched linen wear.
As is common in times of war, it was fashionable among civilians to ape military styles and so it would not have been unusual to see gentlemen in town with never a connection to the war, carrying military swords and wearing cavalry style boots as shown here.
However, the two items which mark this man as an officer are the 'gorget' ( the small piece of armour around his neck) and the 'scarf' or sash which would have been worn either across the shoulders as here or around the waist - often seen when wearing full breast and back-plates.
The gorget is a token show of rank and is the last remnant of the full plate armour worn by knights in earlier times. An even smaller version is still worn on dress uniforms in the present day army.
The scarf would have been made of a long length ( 4 1/2 yards) of imported silk, the width of the cloth ( up to 27"). Its colour was usually an indication of which side the wearer was fighting for - in this case , red, indicating a loyalty to King Charles.

1705 Clothing
Maker: Karen of Time Tarts
Model: Craig

Here we see a rare glimpse of the clothing worn under
a coat of the early 18th Century. - 1705.
His waistcoat is fashionably long and is made from purple and gold silk from Chatelaine Silks by Quartermasterie. The back is made from the same material and shows off the wealth of the wearer.
The knee breeches, the style of which changed very little during the course of the 18th century are made of black wool and have made a striking contrast with the knitted red wool stockings which show a gentleman's shapely calf. Of course - if a man did not have a shapely calf, he could always supplement them with ' leg improvers' down the back of his stockings!
Underneath the waistcoat ( which incidentally could also be made with sleeves as well as shown here without) is a fine white linen shirt.
The outfit is completed with a three-cornered hat and low-heeled black buckled-shoes.

1725 Man-about-town
Maker: Mark of Kitty Hats
Model: Mark

This mode shows a gentleman about town in the first quarter of the 18th Century. His fine quality woollen coat is decorated with silver braid and silver buttons. It has the very full skirts fashionable at this time, which fall in pleats just behind the side seams of the body.
The contrasting waistcoat is plain but showing an expanse of expensive cloth across the chest and reaches almost to the same length as the outer coat. As the century progresses the waistcoat becomes shorter in relation to the top coat and the lower edges of the top coat move further away from the centre front.
On his head he wears a 'bag-wig' with side curls. The bulk of the hair on the wig is pulled into a small black silk bag on the back of the neck - hence the name! Underneath the wig, the head would have been shaved to avoid problems with fit, dirt, grease and headlice. Out of doors a gentleman would always cover his head and wig, in this case the common three-cornered hat.
The hand-knitted silk stockings and high-heeled buckle shoes complete the accoutrements of a gentleman, even if his beard marks him out as either a ruffian or a Scotsman!

1745 Highlander
Model: Chas

A demonstration of the method of putting on the great plaid as worn by highland soldiers in the Jacobite Rebellion of 1745.
The linen or wool shirt shown here would have been worn during the day as well as at night. The length of tartan or checked cloth would have used as a blanket at night and then intricately draped on the body for wearing during the day.
The length of wool ( 21' x 5' approx) is laid flat on the ground and then pleated in deep pleats so that each end lays flat. The highlander then lays upon the pleated section with his knees to the outer edge of the cloth.
The two flat ends are now wrapped across the front of the body so that they overlap by about 18"
A wide leather belt is then passed under the the cloth and fastened.
After standing up, the pleats can be seen draping to the floor at the back. The upper section is then tucked into the belt at various points forming pockets and leaving a trailing edge.
This long end is then tied over the shoulder by either a piece of leather or a brooch, depending on the wealth of the wearer.
The long end of the plaid could be wrapped round the shoulders for protection in inclement weather.
A jacket or waistcoat could be worn with this or just a shirt as shown here.
A scots bonnet with a white cockade is worn and on the feet are leather 'currans' - light protection for the feet made from a single piece of leather.

1750 Civilian
Maker: Jilly Jones
Model: Haydn

By the mid 18th Century, the fullness in the coat skirts is reducing and the waistcoat is becoming shorter in relation to the top coat. This plain woollen frock coat would have been worn by a middling class or merchant in town.
He has pretentions of country manners by wearing a pair of riding boots, implying that he has an estate on which to go hunting - a very fashionable sport amongst those with time and money to spend on their country estates in the summer months.
The three-cornered hat is still commonly worn by all classes.
Again here, the beard indicates he is not a true gentleman, but there may be even rougher types on the streets as he ostensibly carries a cane with which to protect himself. However, if it came to a street fight the cane hides a very slender sword with which he can see off all but the most persistent of ruffians!

18th Century gentleman's undress
Maker: Mark and Kate of Kitty Hats
Model: Mark

At home a gentleman dressed quite informally to entertain business associates and close members of his family.
As he would have shaved his head to facilitate the wearing of his wig, he has wrapped a loose turban around his head for warmth.
Replacing the top coat indoors is a 'banyan' which is a loose, dressing-gown-like garment, here made in a silk brocade and worn over his normal day clothes. This loose garment has its origins in turkish costume which had been discovered by young gentlemen on their 'Grand Tours' of Europe.
On his feet he has replaced his heavy outdoor shoes with lightweight leather mules. His glasses are of the correct period and supplied by 'Period Glasses'

1800 gentleman
Maker: Karen of Time Tarts
Model: Steve

By the end of the 18th century, the gentleman's coat reflected the love of the English Country Gentleman for understated but well tailored clothing.
The coat here, has a cut-away front with narrow tails at the back. The shortness of the front of the coat shows a glimpse of the waistcoat underneath.
He wears this outfit with trousers, which are just becoming acceptable wear for a gentleman as opposed to common working wear for a labourer. The norm for gentlemen at this time would have been breeches in either a matching or contrasting fabric. And as a man ahead of his time he also displays the latest thing in headgear - a top hat.

1805 Sailor
Maker: Karen of Time Tarts
Model: Sam

As we celebrate the 200th Anniversary of Trafalgar and Nelson's death, we can show you an outfit of a young sailor of the navy at that time. He wears a short navy blue jacket, which although was not actually uniform or issued, was commonly worn by all hands.
A sailor with prize money in his pocket might add fancy buttons and lace to improve his image ashore, but on want of money for drinking, the buttons could still be re-sold!
He wears a pair of loose canvas trousers which can be rolled up above the calf for ease of working on deck and climbing the rigging.
On board his ship, such a sailor as this would probably go barefoot and only wear his shoes in very bad weather or when he went ashore.
He carries a naval cutlass courtesy of McFarthingbowl re-enactment supplies. This all-purpose weapon would be issued from stores when the seamen were called to quarters immediately before an engagement. It could be used for diverse tasks such as chopping wood, slashing rigging or picking frenchmen's noses!

1805 Naval Lieutenant
Maker: Jill of Fredrick & Knights
Model: Eddie

Whilst the ordinary seamen did not have formal uniforms at this time, the naval officers' uniforms had been regulated since the late 18th century.
Here we have an undress uniform for a lieutenant, the next rank up from the most junior midshipman. His dress uniform would be decorated with gold lace but here the detail is a piped edging made of superfine white wool.
The buttons are copies of the original regulation pattern, which differ from rank to rank.
Under the double-breasted coat he wears matching nankeen ( a type of heavy cotton) breeches and waistcoat. In winter climes these could be made of wool.
His headwear is a regulation cocked hat which would have been of this style for all ranks with the difference of gold edging for dress uniforms and higher ranks.
He carries a delicate but effective small sword which is an original period piece and a very close likeness to one in the Maritime Museum in Greenwich.

1860 American Union Infantryman
Maker: Debbie of Debbie Lough costumes
Model: Will/Nigel

There is a very long book of regulations governing the Federal uniforms of the United States during the period of the American Civil War in the 1860s.
In reality this rule book was largley ignored in many units. A good example of this is the way that soldiers would purposely destroy their regulation issue ( and very uncomfortable) 'Hardee' hats, so they could go back to wearing their own headgear.
Another good example is this ' sack' coat - a private purchase. Many soldiers would buy their own clothing, often not regulation, rather than wear their issued uniforms.
The regulation sack coat should have 4 buttons, a standing collar, no external pockets and fasten to the neck. This coat - copied from an original, has none of these features.
The original belonged to Private Yeargason of the 22nd Connetticut volunteers.
The coat is unlined, with 3 pockets at the front and does not fasten to the neck, but folds back in the style of an officer's coat.
Two of the standard federal eagle infantry buttons are missing because Private Yeargason cut them off to make his coat more comfortable.
The coat is worn with regulation sky blue trousers, which fasten by means of paper-backed tin buttons.

1860 American Union Infantryman
Maker: Debbie of Debbie Lough Costumes
Model: Jerry

This is the second regulation uniform of 11th Indiana volunteers ( Wallace's Zouaves )
The first regulation uniform was grey trimmed with red but this was ordered to be changed by the Union War department because of confusion with the enemy who commonly wore grey.
The 2nd uniform was not actually issued, but a clothing allowance was given for soldiers to purchase their own. As can be imagined, this led to a very wide variety of styles and decorations on the jackets!
The coats and waistcoats would vary on colour from blue through to black and the styles varied from separate jackets and waistcoats, to jackets with false front waistcoats.
One can only imagine how diverse the braiding decoration was on each of those jackets depending on the eccentricity of the wearer and the tailor commissioned to make it.

1860 Union Soldier and Vivandiere
Maker: Jayne of West Point Sutlers
Model: Jerry and Jane

Here we have a rare opportunity to see the uniform and accoutrements of a female legitimately taking part in a war.
The vivandiere was not seen with all regiments and was a phenomenon of a few Union regiments. It was here job to see the men watered and cared for on the battlefield and not just laundering and mending for them in camp.
She carries a small barrel which would usually contain simply water and she is able to protect herself with the Colt Sheriff Refolver.
Her uniform was not issued but she would commonly base it on the regimental uniform with the obvious alterations for the lower garment, A long skirt would be too impractical for running round a battlefield but trousers were thought of an indecent for a woman's apparel. So the compromise of a short skirt over long trousers satisfied all sides.
Underneath all this she would have still been wearing her fashionably tight corset! Unusually, although she was not issued a uniform the vivandiere was on the roll of the regiment and recieved army pay and later a pension.
The soldier accompanying her is of the same regiment - Company 'K' of the 69th Irish Brigade, most of whom would have been first generation immigrants from the Irish famines and later. He indicates his nationality by the wearing of a green sash around his waist and wearing a harp emblem in the side of his Kepi.