Materials available for use in medieval clothing included:

Wool
Silk
Linen
Hemp
Cotton
Leather
Fur
Various fabrics, such as taffeta, velvet and damask, were made from textiles like silk, cotton and linen
using specific weaving techniques.
Glossary of Renaissance Fashion
basquine boned bodice made of whalebone and leather, gave the appearance of wider shoulders
tapering to a tiny waist (women)
beret thin, loose hats that usually tilted towards one side of the head

Renaissance beret
bombasting stuffing for trunk hose, peascod-belly, and leg-of-mutton sleeves, composed of rags,
flock, and other materials
bourrelet wider version of the farthingale adapted in France, more cylindrical in shape rather than
conical (women)
bum roll/bolster roll of padding tied around the hip line to hold the skirt out from the body, less
restrictive than the farthingale (women)
camicia undershirt usually made of white linen (men)
canions upper stocks worn from the doublet to the knee (men)
chopines shoes that elevated the wearer, eventually developed into high heels
crescent cap circular/heart-shaped cap worn towards the back of the head with a velvet veil
covering the rest of the hair
codpiece padded triangle of fabric worn laced to the front of the trunk hose over the groin (men)
copotain high bell-shaped hat
doublet mans bodice
duckbill shoes/scarpines/ox-mouth shoe large, wide, square-toed shoes often decorated with jewels
or slashes (men)
enseigne disc-shaped hat ornament, usually extremely detailed with jewels/carvings (men)
farthingale topmost petticoat, hooped to give shape to the skirt (women)
finestrella sleeves sleeves where the outer fabric was slit horizontally and the sleeves of the
undergarment were pulled through (women)
flat cap flat hat with soft crown and moderately broad brim (men)
funnel sleeves sleeves that were fitted at the upper arm and ballooned out, fitted tightly around
wrist
gorget neck ornament

Kennel or Gable Headdress
jerkin short velvet or leather jacket, usually sleeveless (men)
kennel/gable headdress pentagonal piece worn over the top of the head with veil/bag cap of dark
velvet attached to the back and covering hair (women)
leg-of-mutton sleeves puffed sleeves that extended the entire length of the arm
neck wisk a falling ruff that was open at the front, resembling a collar
nether stocks trunks worn under breeches, long enough so that the bottoms could be seen (men)
pantofles wooden platforms attached to the sole of the shoe with pieces of fabric to protect them
from rain, snow, and mud
peascod-belly doublet doublet rounded at the abdomen to give the appearance of a filled-out belly
(men)
points resembled shoelaces, used to attach trunk hose to doublets or sleeves to doublets or bodices
(lacing/trussing)
pokes apron-like pockets tied to the doublet (men)
ruff starched (often with different colors) and wired collar pleated into ruffles, could be made of lace
or jeweled, usually had matching cuffs
shoe rose decoration usually made of lace or jewels that was worn at the front of the shoe
slashing and puffing slits cut in a garment with fabric from the undergarment pulled through to
form puffs
stomacher stiffened triangular piece worn at the front of the bodice, reaching from neckline to lower
abdomen (women)
supportasse frames of silk-colored wire pinned underneath the ruff to keep it in place
trunk hose/pumpkin hose ballonish-looking breeches that extended from the end of the doublet to
about mid-thigh (men)
Venetians full breeches that reached the knee

Wings on the Shoulders
verdingale/farthingale frill stiff wheel of fabric, often pleated, worn between the bodice and the skirt
(women)
wasp waist deep V-shaped waistline that extended over the skirt
wings rolled fabric worn vertically around each shoulder, between the sleeve and the bodice
wisk/Medici collar fan-shaped pleated collar, stiffened with wire and open at the front
zipone buttoned tunic that reached the knee worn over the doublet (men)
zornea cape with wide sleeves, belted at the waist (men)



Fashions progressive chronologically, the first image with fashions typical of the early Renaissance in
Italy, with high waists and finestrella sleeves. Second image of fashions towards the middle of the
Renaissance, influenced mostly by the Tudor court, with a square neckline, funnel sleeves, and a
conical Spanish farthingale. Last image of fashions by the end of Elizabeths reign, with leg-of-mutton
sleeves, long v-shaped waistline, ruff, and barrel-shaped French farthingale.


The first image is of mens fashions towards the middlish of the Renaissance (before this mens
fashions had stayed the same as late Medieval fashions), with padded shoulders, jerkin, knee-length
tunic, flat cap, and duckbill shoes. Second image from later Renaissance, with leg-of-mutton sleeves,
short cape, short trunk hose, ruff, and v-shaped waistline of doublet.




Renaissance Costume History
Around the 1490's is when costume historians can agree that the new dress for Renaissance began. This
was the period of clothing that could be said that excessiveness in all areas of costume began.
Different countries took the news styles differently. For instance, the northern European countries
were distorting the natural figure by padding sleeves, doublets and stockings. Italy did not go as far as
the North, and England and France followed Italy's lead while they stuck to more medieval influenced
styles. Germans went to the greatest extremes making improvements on the natural silhouette. They
put large puffs at the head, shoulders, thighs; small puffs, like boils, over chest, back, arms, legs and
feet. They put feathers on many on everything from wide-brimmed hats to the knees. Clothing at this
time followed suit with all other types of creative expression at this timeit went over the top into
new discoveries.
Permanent characteristics in all countries are summarized as thus: rich heavy materials, in voluminous
amount, large sleeves, close body garments, large hip-clothing, wide-toed, heelless shoes and covered
heads masculine and feminine.
Some of the styles that endured throughout the Renaissance included slashing**, where the outer
clothing was cut in slits and the underclothing slightly pulled through, the ruff, a circular collar of
starched and pleated fabric (these continued to get larger and more elaborate as the era progressed),
and detachable sleeves, which allowed for a more affordable method of changing ones outfit. Fans
also became very popular accessories (especially in the court of Elizabeth I) after Columbus brought
the first feather fan to Queen Isabella from the Americas. They were mostly more for decoration than
for practical use and were decorated with jewels and made of ivory and expensive feathers. Catherine
de Medici made the folding fan popular which was usually attached by small chains or ribbons to the
girdle. Handkerchiefs also became important in signifying wealth and power. Sumptuary laws were
passed prohibiting the lower class from using them. They became increasingly decorative, edged with
lace and embroidered exquisitely. Lace and perfume made their first appearances during the
Renaissance.
At the beginning of the Renaissance, clothing started to become rounder and fuller. Womens clothing
began with high waistlines, square necklines, and finestrella sleeves. However, waists continually
lowered until they became extremely low, tapered, and v-shaped by the end of Elizabeths
reign. Sleeves became rounder and had to be stuffed. Necklines remained square, though in the
second half of the period they were often risen to the neck to accommodate the
ruff. The farthingale was perhaps the biggest contribution of the Renaissance. When first used, is
was conical in shape with wire hoops graduated in size (often called a Spanish
farthingale). However, by the end of the era it had widened into a conical barrel shape (French
farthingale). The increasing size of the farthingale needed a lot of material to furnish it, and laws
were passed to try to curtail their use (these laws were very much ignored). Skirts also became
shorter so they might show pretty high-heeled shoes and even glimpses of stockings. Needless to
say, during the entire Renaissance the desired female figure was shifting to a silhouette of wide
shoulders, a long, narrow waist, a flat chest, and full hips, which was mostly modeled after the slight
but ever so influential figure of Elizabeth I. Another interesting phenomena with womens fashions
was that women would pluck their foreheads and sometimes entire eyebrows to have the appearance
of a high forehead, and therefore intelligence, which was so worshipped during the Renaissance.

Mens clothing began with accentuating the shoulders and chest. They wore tunics and
doublets reaching the knee, belted at the waist and stuffed in the chest and upper sleeves. Usually
jerkins, often fur-lined, were worn over. Flat, wide hats were worn. Shirts were cut full and gathered
at the wrists and necks. However, by the end of the period, short, pumpkin-shaped trunk hosewere
worn with tight hose to show off a mans legs and men began wearing corsets to slim the torso. They
also acquired the v-shaped waistline as women did. Peascod-belly doublets became popular, as well
as leg-of-mutton sleeves, short capes, and more vertical caps often decorated with feathers. Ruffs
and matching cuffs were essential.

Women wore the low-crowned hat in the same fashion as the men. Women either wore their hair with
elaborate structures in their hair like the Germans or with just a kerchief. They had the hair covered with
some kind of headdress. Some names of headdresses are: crescent, kennel, gable, transparent half-
dome bonnet, or the gorget and wimple. Peasant women wore the cote of the earlier period and
handkerchiefs or collars around their neck.
Most men's hair was bobbed but the length of your hair was chosen by individual taste. They could be
straight or curled according to the nature of the wearer. As the sixteenth century advanced men wore
their hair shorter almost like modern hair. The men wore variations of the low-crowned, brimmed cap
and was often turned up all around or with just one side turned up.
Overall, Renaissance fashions were characterized with a new scale of opulence and extravagance never
quite reached in the Middle Ages. Jewels, pearls, gold, lace, and techniques such as slashing and
puffing were used unscrupulously. Jewelry became very important during this time period to denote
wealth and position. Fashions truly reflected the love of art, discovery, and new inventions that defined
the Renaissance. Colors of this period are strong, often dark colors. Black velvet was a staple fabric of
the period, especially in headdresses. White linen was another accent against colors of gold and
burgundy for collars and wrist ruffles.


Notable Renaissance Costume Elements
Flat CapA hat that is flat with soft
crown and moderately broad brim
often associated with Henry VIII.


JerkinA short velvet or leather
jacket, usually sleeveless, similar to a
vest/waistcoat.

Upper HoseUpper hose or full trunks
that extended from upper thighs to
waist.

Nether HoseThe stockings that
covered the lower edges of the leg.
They were usually rolled above the
knee and secured by garters.

Kennel/Gable HeaddressResembles
in outline the pediment of a Greek
temple. Its essentials were the piece
that goes over the front part of the
head and covers the ears and the veil
or bag cap covering the rest of the
head. With the formal styles of this
headdress, no hair was visible, that at
the forehead being covered with rolls
or folds of cloth. There were
however, linen coifs shaped in the
same outline which left the parted
hair visible on the forehead. The front
roll was of diagonally striped material
or velvet. The kennel consisted of a
stiff plane covered with rich material,
pieces of which extended down the
sides and might be pinned back on
themselves. The cap at the back,
joining the kennel, was like a bag with
a square bottom. One side was turned
back and pinned to the other at the
back of the head. The bag was
generally of black velvet.

French/Crescent Stuart CapA heart
shaped cap worn by Mary Stuart. .

Bridged SleevesSleeves created by
tying segments together at a bridge
often bridged at the shoulder.

Cod PieceA pouch like appendage
made from the same fabric as the
jerkin or upper stocks and fastened by
ties or buckles; a decorated covering
for the opening in the front of the
breeches; forerunner of the fly.

Simar(re)A robe for men, derived
from chimer or chimere, and
ecclesiastical garment very much like
it in shape. The neck part was
somewhat on a double breasted line,
with no collar in back, but with wide
revers turned back from the front
edge of the robe. The robe was worn
either ungirded or confined at the
waist by a narrow silk scarf, knotted
with one loop and two ends.

Slashing and PuffingVertical,
horizontal or diagonal slits in the
fabric of the garment, through which
appeared a different fabric. Often the
shirt was the garment which puffed
through.

PanesLoose, vertical bands on
sleeves, doublets and trunk hose.

Funnel SleevesSleeves that start big
and tighten toward the cuff.

Order of the GarterAn honor
bestowed by the King and the person
was given a special garter to wear.

Duckbill ShoesVery wide square-
toed, slipper-like shoes, often
decorated with jewels, puffs or
slashes.

StomacherFalse front or ornamental
covering on the front of bodice.

ClockingEmbroidery on the socks at
the ankle and sometimes on boots.

Chain of OfficeA heavy chain worn
by a man across the chest and
neckline as decoration; often denoted
an organization to which he belonged.


Ladies' Hairstyles

Wearing their hair long, women did not wear bangs. They scraped their hair back from the
face to expose the forehead. Ladies braided and then coiled it -- encircling the head, coiling
over the ears or forming 'horns' either side of the head. They covered these coils with
increasingly elaborate head coverings that developed from simpler medieval forms. Ladies
selected hoods and wimples with complex folds, high crowns, gables or peaks. Enclosing
their coils in hairnets and snoods, ladies decorated these with gold, pearls or semi-precious
stones. Poorer women wore cauls -- similar to snoods, these were cloth bags to cover the
coiled hair. Noblewomen might also wear cauls, but theirs would be elaborately decorated.
Plucking

Renaissance society considered a large forehead to be beautiful. Ladies plucked all the hair
from the front of their heads to make the hairline recede. Ladies continued doing this into
the Elizabethan era -- consider portraits of Queen Elizabeth I with her high forehead and
plucked eyebrows. Hairlines had receded and hats were much smaller by the late 1500s


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Men's Hairstyles

Men of the early Renaissance shaved their facial hair. They cut their hair below the ears --
typically around chin length -- and wore bangs. Beards came into vogue later in the
Renaissance, and men cut their hair shorter. Henry VII of England, 1485 to 1509, wore the
typical Renaissance bob and bangs; Henry VIII, 1509 to 1547, is known for his trim beard.
Men of the Elizabethan era likewise had beards. Renaissance men covered their hair with
wide hats, caps or beret-like hats worn on the side of the head, trimmed with a feather or
jewel.


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