Jack Banyard “ Praguestyle Houpelande,” accessed December 2012. Luisa Cogliati Arano, The Medieval Health Handbook: Tacuinum Sanitatis, (New York: George Braziller) 1976. John Altarpiece by Rogier Van der Weyden from 1455 (although several decades later than the intended date of this garment) shows the inside of a garment with the outer layer visible at the center back seam. The seams from the pieces of the lining show that sections of the lining were sewn together before being connected to the outer layer. The interior details of garments are rarely seen in contemporary images, however, the St. The wool outer layer was then folded open and stitched down with rows of running stitches of silk thread. To construct the body of the garment, I layered the lining and the outer layer and sewed the pieces together at the main center seams using a running stitch in linen thread.
The individual panels were sewn with the straight edge joining an angled edge for stability of the fabric. I sewed sections of 4 panels together at a time until I had front right, front left, back right, and back left sections of both the lining and outer layers. This seam allows for the panels to join at the shoulder seam and form an easy V-neck as previously discussed in the Design section. I used 16 panels total, 8 for the front and 8 for the back, with a center seam at the front and back. The buttonholes were creating by cutting a slit in the fabric and binding the edge with a buttonhole stitch. I washed the wool before construction in order to achieve a fulled fabric that would not fray easily. The wool seams including hems are all single fold as the qualities of the wool would prevent severe fraying. The silk pieces were always folded under to secure the raw edges. The linen sections were folded over and flat felled to prevent fraying. The main seams of the garment were all sewn with a running stitch, stab stitch, or hemstitch. A navy blue filament silk thread was used for all stitching visible on the outside of the finished cote. Only seams not visible from the outside of the garment used linen. This would have been a readily available thread in the early 15th century and when coated with beeswax, very strong. The linen thread is a natural beige color. Beeswax coated linen thread was used for all interior seams and silk was used for facings, visible seams, and finishing. Linen and silk thread were used to construct the garment. Silk linings have been discovered as facings on garment fragments with button holes as well as curved sections believed to be a neckline or armhole. Tabby woven ivory silk was used for lining the collar and facings at the wrists and armholes.
I used navy blue wool 2.2 twill for the outer layers and natural tabby woven linen for the lining. I also curved the shoulder seam to give some extra fullness when the seam settles on the wearer. I decided to use panels similar to Master Jack, but I oriented the panels so they meet at the shoulder seam similar to Cynthia Virtue’s design. There was no citation for the article Master Jack references so I was unable to verify his conclusions, however, they seem logical.
The shoulder seam is formed from the side panel only. I also found a webpage by Master Jack Baynard (as known in the SCA) with a line drawing of the pattern that had the top of the panels oriented to the neckline. I found an image of an extant houppelande from Czechoslovakia dated to 1396.
#Cote medieval clothing full
Gores and gussets are a staple of medieval clothing construction and using some variation of panels to create a full houppelande is a logical solution. This gives the garment the desired fullness falling from the shoulders, however, as medieval fabric commonly much narrower than modern cloth I did not want to make quarter circle sections from a single modern width of fabric. I liked the orientation of the shoulder seam Cynthia Virtue used in her pattern. The pattern I created for this garment is a combination of two theories on constructing a houppelande.
The primary images I referenced for visual inspiration come from the Hunting Book of Gaston Phébus and the Chroniques de France ou de St Denis. In order to achieve the desired fullness in the body, I created a pattern combining a two existing theories. I wanted the sleeves to be stylish, but not cumbersome so I chose a bag sleeve with a fitted wrist. My goal was to create an outer layer piece of clothing for a spring or fall season that is appropriate for a noble in an everyday setting.
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