Gunter and Julianna's Landsknecht Site

German Women's Costume Guidelines




by Julie Adams



This page is under construction. Photos, drawings and images will be added soon. Check back later.

Each costume must be of a consistant time period. Treatments used only in late period should not be mixed with styles used only in an earlier period. Anything not recognizable as a common treatment may require documentation to proove that it is period. Creativity and new ideas are great, but they should be documented. Do not assume that all costume details from each period mix and match. Uncertain treatments should be researched. When there is a period, documented technique to achieve a certain look, the director may require that technique to be used. Everyone is encouraged to research and document additional techniques.


General Do's, Don'ts, and No's


Do send swatches of all fabrics and trims, including piping, pearls, shirting, and hose fabric.
Do wear a head-covering at all times.
Do make symmetrical sleeves. Women always seem to wear the same style on both arms.
Do use natural fiber fabrics, or blends of over 50% natural fabric. Brocades may be entirely synthetic, but must "read" as wool, linen, or silk. Use real fur only.
Do ask questions and send swatches when you are not sure.
Do use knit, woven, or knotted cauls. Don't use crocheted cauls.
Do use fancy machine stitches which replicate period blackwork patterns.
Do research and document ideas and designs beyond what is in this guideline.
Two primary sources are required for each non-standard treatment.
Do follow the rank restrictions on wearing fancy costumes.
Don't use ribbon or woven patterned tape trims to decorate your costume.
Don't expect to be able to wear a costume without all the pieces (i.e. sleeves).
Don't use a drawstring at the waist of a skirt. Use a waistband.
Don't use a zig-zag stitch on the outside of a garment. Use straight or blind-hem stitches to sew down banding or cord.
No shirt-weight fabrics for dresses!
No wearing a lot of jewelry above the class of your total costume.
No tapestry brocades. No Georgian or Victorian brocades. (Get brocades approved before you buy them!!)
No synthetic metallic fabric or trim. (Use metallics with real metal in them! Some synthetics may be approved if they "read" well.)
No corduroy, unless it is no-whale or used inside-out.
No stripes or print fabric.
No glass beads, rhinestones or metal studs, unless they are on jewelry items.
No obviously modern makeup or manicures. Disquise or cover modern hairstyles and tatoos. Disquise, remove or be very discreet in wearing jewelry in non-period piercing.


Fashion Brief


The Germanic styles change quite a bit during 16th century. In general, we have been creating pre-1550 German styles. These styles have a higher waistline and rounder shoulder. These styles are mostly seen in art by Durer, Cranach, Breugel, and Holbein. Later styles which look very Germanic (as opposed to English or Spanish), may also be used. They tend to have longer waistlines, and high puffs at the shoulder. These styles are mostly seen in art by Jost Amman and Vicellio. The Holy Roman Empire (which is Germany, Austria, Polland, Hungary, and the Netherlands, etc.) was comprised of many different local cultures with their own fashions. If a local fashion can be adequately documented as part of a landsknechte company, it will be allowed. Most bodice styles have front or side closures. Back closures may be required to reproduce certain sleeve/bodice combinations. Invisible closures (hook and eye) are preferred for front and back closures.

We encourage the use of woolens in costumes. Furs may be used, but only as linings, except for upper class gollars, and as purses for lower class, unless you can document otherwise. Even peasant women lined their skirts with fur. Skirts tend to be long. An overskirt should at least touch the ground when worn loose. All classes of women wore their skirts up if the situation demanded it. There is even a woodcut of a noble woman bird shooting in a brushy field with her skirts girded up. For theatrical reasons, at fairs, upper middle and upper class women should keep their skirts down most of the time. Girded up skirts should be puffed around the top of the waist. A girded skirt should not look like it is holding up a pregnant woman's stomach. Girded skirts should puff evenly at the top and hang evenly at the bottom. Horizontal banding decorates most, but not all skirts. Later period skirts are sometimes split in the front.

Adult women should keep their hair up and covered most of the time. Young women wore their hair down in very long sausage curls or braids only, so if your hair won't do that, cover it. Earrings were not popular in Germany. Earrings may be worn, but should be approved.

The classes described in this guideline document the boundaries, or limits, of the costumes and accessories of various ranks. The HRMS ranks are described in the HRMS charter. Additional accouter required by each rank is specified in the women's accouter list for that rank. There are actually more class levels. For each class there is a lower, middle and upper (ie. lower lower class, middle lower class, etc.). These guidelines mean to establish the boundaries for camp follower at lower lower class to middle middle class; for doppel's wife at middle middle to upper middle class; for officer/gentlemen's wife at upper middle to upper upper class, which includes nobles who must be lower upper class or above. Lower and Middle Class women may also be servants to Upper Middle Class and Upper Class men or women. An Upper Middle Class woman may be a companion to an Upper Class woman if the scenario will accomodate it. A woman may be a mistress to a man of higher rank. Each individual is allowed to design a costume for their character for any level within the boundaries of rank. Due to theatrical reasons, because they must be able to interact with courtiers at LHC faires, the upper class costumes may require more restrictions later.

Class differences are primarily shown by the quality of clothing and accessories. The most important difference between higher and lower quality garments are construction. Garments made of quality fabrics, but of lesser quality construction will not be approved. If you don't have the sewing skills to make a middle class dress, stick with lower class, etc. The fancier a fabric is, the worse it looks when a garment is not made properly. Costumes of exceedingly poor craftsmanship will no longer be allowed at any rank.


Lower Class Dress Costume Guidelines


Description: Lower class German women are equal or only slightly better off than an English peasant. Some of the occupations of a lower class woman might be a servant, a laundress, a nurse, or a cook. A lower class woman is likely attached to a pikeman or armed Pikeman. Lower class people wear simple workaday clothing without a lot of ornamentation. Work clothing for a middle class woman might look lower class. Clothing may look old and worn, but should look maintained.

Styles: Usually square or round-necked bodice. May also be a doublet-style neckline (high-necked with mandarin collar). Front closures for round-necked bodices should always invisible, (use hook and eye tape). Side closures may be laced. Sleeves tend to be less slashed, often no slashing, and are normally fitted from the elbow to the wrist. Usually 0-3 horizontal bands on skirt. Often few or no feathers on hat. There are often several layers of dresses. Many women wear aprons.

Fabric: Fabrics should be sturdy and durable. White or Off-white linen or cotton shirting. Rough wool, linen, or Heavy woven cottons for the dress. Dress weight fabric should be about blue-jean denim weight.

Colors: Stay away from true black or red. Off-black or off-red as banding or trim only. No neons. Preferably use faded, "muddy", or muted colors, but brighter colors are acceptable in fadable fabrics.

Trims: Rough piping or cord. Some simple blackwork embroidery may be used on shirt or apron. No metallics. No brocade or velvet. Aprons and necklines of shirts may be smocked. Decoration should be achieved with appliqued banding of contrasting fabric. Keep it simple.

Jewelry: 0 - 2 primitive gold or silver chains, or pearl strings. No precious stones. Non-precious stones are ok, such as lapis or quartz. Maybe one or two brass or silver baubles on a hat. No faceted stones.

Accessories: Aprons, Trade tools such as a (rolling) pin, large spoon, needles, etc, goller, rough leather gloves (may be slashed), cloak, rough leather or cheap fur pouches (rabbit, coyote, or fox), crude brass fittings and buckles.


Middle Class Dress Costume Guidelines


Description: Middle class women should try to look neat and clean. Occupations a middle class woman might hold are a servant, a sutleress, a seamstress, an embroiderer, a cook, or a nurse. A middle class woman is probably attached to an armed pikeman or a doppel soldier.

Styles: Usually square or round-necked bodice. May also be a doublet-style neckline (high-necked with mandarin collar), or a placket-fronted bodice. Front closures for round-necked bodices should always invisible, unless they are a placket-front, (use hook and eye tape). Side closures may be laced. Sleeves tend to have some slashing, and are normally fitted from the elbow to the wrist. Usually 0-4 horizontal bands on skirt. Often few or no feathers on hat. There are often several layers of dresses. Many women wear aprons.

Fabric: Shot/rough woven silk, Finer woven woolens, linens, cottons, some accents in brocade or velvet, such as bands, sleeve accents or bodice. Fabrics should be sturdy and durable. White or Off-white linen or cotton shirting may be finer than lower class. Dress weight fabric should be about blue-jean denim weight. Some lower quality brocades, velveteens, apholstery velvets, or no-whale corduroy may be approved for the middle class dress base fabric, depending on color, weave, and quality.

Colors: Some black or red fabric may be used as banding or trim only. No neons. Colors may be richer, such as deep green, navy blue, or plum.

Trims: Piping or cord. No metallics. Brocade or velvet bands accents or banding may be used. Some blackwork embroidery may be used on shirt or apron. Aprons and necklines of shirts may be smocked. Band on placket-front may be embroidered or may have a small amount of muted metallic. Decoration should be achieved with appliqued banding of contrasting fabric, slashing, puffing, and piping.

Jewelry: 4 or less primitive gold or silver chains, or pearl strings. 1 or 2 precious stones in rings or baubles. No faceted stones. Non-precious stones are ok, such as lapis or quartz. Two to four brass or silver baubles may be on a hat.

Accessories: Aprons, Trade tools such as a (rolling) pin, large spoon, needles, etc, goller, cloth or finer leather gloves (may be slashed), cloak, leather pouches, brass or silver fittings and buckles (may be somewhat decorative). An undecorated metallic caul may be worn. A plain belt or sash may be worn.


Upper Middle Class Dress Costume Guidelines


Description: Upper middle class women should look neat and clean. Occupations a middle class woman might hold are a sutleress, a seamstress, a embroiderer, or a cook. A middle class woman is probably attached to a doppel soldier, an officer, or a gentleman. An upper middle class woman may have servants.

Styles: May be square, round-necked bodice, doublet-style neckline (high-necked with mandarin collar), placket-fronted, or standup collared bodice. Front closures for round-necked bodices should always invisible, unless they are a placket-front, (use hook and eye tape). Side closures may be laced. Sleeves tend to have some slashing, and are normally fitted from the elbow to the wrist. Usually at least one horizontal band on skirt. Often many feathers on hat. The overall styled apron is not used, but some decorative aprons are used over the skirts.

Fabric: Dress-weight silk, fine quality woven, felted or brushed woolens, brocades, or velvets may be used as the dress base. Silk Satins may be used for accents. Fabrics may be less sturdy and durable. White or off-white linen, cotton, or silk shirting should be of fine quality. Dress weight fabric should be about blue-jean denim weight or only slightly lighter. If a lighter weight outer fabric is used, it must be lined.

Colors: Any period color is acceptable, including black and red.

Trims: Piping or cord. A lot of blackwork embroidery may be used on shirt or apron. Some metallics may be used as accents. Necklines of shirts may be smocked. Decoration should be achieved with appliqued banding of contrasting fabric, slashing, puffing, and piping. Metallic wide trim, a few pearls, or embroidery may be used on top band of placket-fronted bodice.

Jewelry: Gold chains, preferably wide, or pearl strings. Some precious stones in rings or baubles. A few faceted stones. Gold, brass or silver baubles on a hat or dress may be used appropriately.

Accessories: Cloth or fine leather slashed gloves, cloak, leather or velvet purse, brass or silver fittings and buckles (may be very decorative). Fancy decorated aprons may be used (see Vicellio). A metallic net caul may be worn, decorated with pearls or beads.


Upper Class Dress Costume Guidelines


Description: Upper middle class women should look fashionable, fancy and rich. Upper class women can be officer's/gentlemen's wives, courtesans, or noblewomen. An upper class woman is attached to an officer or a gentleman. Upper class women may wear the latest styles. Upper class women should wear a corset or corselet. A noble woman may have servants.

Styles: May be square, round-necked bodice, doublet-style neckline (high-necked with mandarin collar), or a placket-fronted bodice. Closures all bodices should be invisible, unless they are a for placket-front, (use hook and eye tape). Sleeves tend to have some slashing, and are normally fitted from the elbow to the wrist. Usually at least one horizontal band on skirt. Often many feathers on hat. Aprons are not common.

Fabric: Dress-weight silk, fine woven, high quality, felted or brushed woolens, brocades or velvets may be used as the dress base. Fabrics may be less sturdy and durable. Silk Satins may be used for accents. White or off-white linen, cotton, or silk shirting should be of fine quality. Dress weight fabric should be about blue-jean denim weight or only slightly lighter. If a lighter weight outer fabric is used, it must be lined.

Colors: Any period color is acceptable, including black and red, preferrably black for nobles.

Trims: Metallics, pearls, filigree, piping or cord. A lot of blackwork or goldwork embroidery may be used on shirt or apron. Necklines of shirts may be smocked with black or gold thread. Decoration should be achieved with appliqued banding of contrasting fabric, slashing, puffing, pearling, goldwork embroidery, and piping. Metallic wide trim decorated with designs in pearls may be used on top band of placket-fronted bodice, sleeves, and edges of bodice.

Jewelry: Gold chains, preferably wide, or pearl strings. Some precious stones in rings or baubles. A few faceted stones. Gold baubles on a hat or dress.

Accessories: Cloth or fine leather slashed gloves, cloak, leather or velvet purse, Gold fittings and buckles (may be very decorative). A metallic net caul may be worn, decorated with pearls and gold trim. A fine fur goller or capelet may be worn.


Basic Costume Pieces Costume Guidelines


Shoes: Shoes and boots should have flat or low-heels. Shoes should be leather and may be slashed. The toes may range from round to cow-mouthed. The most common colors are black or brown, but some solid colors or colored accents are allowed. Shoes and boots should not have fringe, or have a modern look.

Hose: May be solid color or striped. Each leg may be a different color and stripe. Hose may be full hose to the top of the leg or to the knee. Hose should be worn with tied or buckled garters. Hose should have no seam or a seam up the back. Hose should be cotton or wool. Cotton 4-way stretch knit is the most common fabric used. Actual hose were often knitted in patterns.

Chemise/Shirt: Should not have a yoke. May have raglan or set in sleeves. Sleeves should be extra long if puffing out of dress sleeve is desired. May be gathered into a collar, into a low-cut band, or using a draw-string. The collars of high-necked shirts and cuffs may have box pleated ruffles. Black-work or gold-work embroidery may decorate the shirt, depending on the class. Silk, linen, or cotton may be used. The fabric type and the quality of the fabric depends on the social class.

Corset/Hoops: Full-bodied women might find a corset or corselet necessary. Support may be built into the bodice. Upper class women should wear a corset or corselet, otherwise they are not required. Small hoops may only be worn with very late period upper middle and upper class dress, but are, in general, discouraged.

Underskirt: An underskirt may be a slightly lighter weight fabric than the overskirt. It may have banding. It should be flat-pleated into a waistband. It should be the same length as the overskirt or about 1" shorter.

Bodice: Invisible closures (hook and eye), buttons, or side-laces should be used on all bodices. Bodices should be lined with a sturdy duck or canvas and boned if necessary. A variety of styles are allowed, see each class level. Bodice openings such as neckline, waist and sleeve edges may be decorated with banding or piping. Later period bodices often have a high puff at the shoulder.

Overskirt: Overskirts should be gored and cartridge-pleated onto a waistband. They may also be flat-pleated. The skirts should be attached to all short-waisted bodices by basting most of the waistband to the bodice. Hooks and eyes may also be used for this attachment. Skirts may be laced, hook and eyed, or buttoned closed. Skirts may be decorated with appliqued banding. Skirts are usually from 120" to 150" at the bottom. The hem of the skirt should at least touch the ground. The skirt may be longer, but should be even or slightly longer in the back. Skirts may have invisable pockets sewn in.

Sleeves: Sleeves may be laced, hook and eye, or be sewn onto to the bodice. Some sleeves may not even attach, but they must be self-standing. Sleeves are normally fairly tight in the forearm and have only small puffs if any on the forearm. Early style sleeves often have a cuff that falls over the hand. There are a a variety of fuller and puffy sleeves, particularly at the upper arm. There are many variations in sleeves to choose from, just document your source. Middle class and lower class sleeves tend to be fairly plain, and often straight with no puffing at all. Chemise sleeves that are smocked into several puffs may be worn in lew of sleeves on progress and around camp.

Headcloth: Headcloths include starched and folded cloth, cauls, caps, and turbans. Cauls may be of net or woven cloth, and may be decorated with embroidery, pearls or beads, depending on social class. Caul colors are usually white, black, gold, or gold metallic. Cauls are worn over hair that is put up in braids or a bun, and pinned in place. Turbans, cloth, and caps should be out of white or off-white fabric, which may have a woven thin stripe in it or a narrow embroidered stripe. The stripes may be black, gold, gold metallic, or dark blue. Caps are usually of three main styles: the Flemish cap with a padded roll, the Flemish Cap with the pleated back, or a biggins. More than one layer of cap may be worn, or caps may be worn under any of the other head coverings. Outer cap fabric may be sheer for middle class and above. Headcloths and hair should be held firmly in place with hairpins. Headcloths may be heavily starched and should not have noticable raveling edges. Headcloths are not just a piece of rag.

Hat: Period hats include flat-hats (pizza hats and starfish brims), tall hats, and some straw hats. Only well-documented straw hats will be allowed. Hats should be wool or velvet. Hat decorations must be documented for your class. Feathers are optional. So far I have seen only one women with a decorated brim (ropes of pearls), and none with dangling jewelry. Women seem to wear all the pizza hat variations: pleated, barber-pole piped edge, parti-colored, etc.

Belt: Leather belts should be 1 1/4" or less wide. The tail of the belt may be decorated with a metal end, and may hang long at the waist. Belts may also be out of a silky cloth or cord. The ends of a cloth or cord belt may have keys, a purse, and a knife attached. Belts may be decorated according to style and class. A belt or cord may be used to hold skirts up for traveling. No visible belt is required; a belt and purse may be under the overskirt.

Pouch/Purse: Pouches and purses may be of various styles and decoration levels according to class. One should only wear one, or, rarely, two pouches. Lower class women may wear natural colored rabbit, coyote, or fox rough looking fur pouches. Many pouches are attached to a sash or belt which hangs just above the knee. It is often hung with keys and a knife.

Jewelry: Jewelry may be worn according to class. All jewelry must be approved. No modern jewelry. I have only seen one period German woman wearing earrings. We can, but don't be extravagant. The one that I saw was wearing about a 1/2' gold hoop with one pearl on it. This or hoops with a coin or two are recommended for lower and middle class. Most camp follower woodcuts do not show excessive jewelry. Rings should not be worn on the middle finger, but may be on all other fingers, and even on the middle joint of the finger.

Weapon: An eating dagger or camp-followers dagger may be worn at the waist or at the end of a hanging belt with a purse and keys. Women's daggers do not have quillions. They often have a bird beak shape at the end of the hilt. The blades should be less than 2 feet long and have a triangular shape (like a french chef's knife). Women should avoid carrying men's weapons unless it is a specific gig.

Goller: Gollers are worn by all classes. Any style of goller is fine, but quality velvet or fur gollers are only for upper and upper middle class.

Cloak: Cloaks should be cut in a half or full circle. They should have a wool outer layer and should be lined. A cloak may or may not have a hood. They should button up the front.

Gloves: All classes may have gloves. Upper middle and upper class gloves should be slashed if used as decorative gloves. Cold weather gloves and mittens may be used by anyone. Lower and middle class women should have work gloves.

Aprons: Aprons come in three major styles. The only style that an upper middle class woman should wear is a rectangular white linen hung at the waist which is decorated with blackwork. This apron is usually shear and the blackwork is two-sided. Middle and lower class women may wear a bib-styled apron or a full-skirt apron. The bib style apron gathers into a small rectangle at the chest. The bib apron has a back piece just like the front. The full-skirt apron is usually smocked at the waist. Middle and lower class aprons may be embroidered with blackwork. Some aprons are flat pleated.


Basic Sewing/Construction Techniques


Making a Seam: A seam is made by placing two layers of fabric right sides together and sewing 1/4" to 5/8" from the edge. The fabric between the edge and the seam is called the seam allowance. The seam allowance is then trimmed or graded, and clipped if the seam is on a curve. The seam is then finished with french seams, flat-felt seaming, or use of the selvage edge. French and flat-felt seams are folded and sewn so that the raw edges are inside an additional seam.

Other Terms in Alphabetical order:

Applique': The process of sewing a piece of fabric on top of another, usually to add decoration. Bands on a skirt are normally appliqued on.

Banding: Bands are created by cutting strips of contrasting fabric on the bias (diagonal to the weave). The strips may be curved by pressing with hot steam. The top of the band is sewn down first. The band is pressed again to fit. Bands may be sewn down with a blind hem stitch or straight stitch.

Basting: Basting is a loose running stitch about 1/4" for each stitch.

Boning: Polyboning or metal corset stays may be used for support in a bodice. Wire may be used to support the collar on a standing collared bodice, such as milliner's wire. Always round the ends of boning or it will break through the fabric.

Cartridge Pleating: This is used to gather a lot of fabric or heavy fabrics. This is a very common technique used for skirts, sleeves, cloak collars, or coats. Make 2 or three long running stitches around the edge which is being pleated. Each stitch should be about 1/2" for an extremely gored skirt, to over 1" for a rectangular cut skirt. Slide gathers together. The top of each gather is handsewn to a finished waistband. The gathering stitches may or may not be removed.

Clipping: The seam allowance of curved seams are clipped so that they do not bunch or pull when they are turned or pressed. The seam allowance of inside curves should be clipped in straight lines toward the seam. The seam allowance of outside curves should have little wedges cut out with the points toward the seam. Corners should have the seam allowance at the point cut off for turning inside out.

Closures: Types of closures for German garments are: Hooks and Eyes, Buttons, clasps, lacing eyes, or eyelets. The quickest and easiest way to create invisible closures is to use Hook and Eye Tape. This may be purchased in black or white. White may be dyed to match a color. Period buttons may be out of leather, bone, wood, cord, or metal. Buttons were usually round or had a slightly conical shape and should be shanked or sewn as a bead. Grommets may be used in a costume if they are sewn over and covered with embroidery thread. Eyelets may be round or sewn as button holes. Lacing eyes may be purchased in a number of forms. Modern looking eyes should be covered. Lacing eyes may be made out of cord.

Embroidery: All embroidery should be documented. Both the design and the placement of the embroidery on an article of clothing should be documented. In general, the body of a German dress is not embroidered, however, aprons, shirts, headcloths, purses, and placket bands may be embroidered. Fancy machine stitches may be used to replicate period black or goldwork patterns. These are excellent for decorating the edges of ruffles.

Flat Pleating: Flat pleats are created by folding and pressing fabric so that the fabric has a number of overlaps. Flat pleats should be measured so that they are evenly spaced. In general, three inches of fabric makes one inch of flat pleating (3-to-1). Pleats may be set with vinegar and water mist and pressed.

Gathering/Easing: Two or more rows of basting stitches are sewn around the edge of the area to gather or ease. Do not lock the ends of the stitch. The threads on on the same side of the fabric are pulled gently while sliding the fabric together. Easing is used to gently gather or take up slack when setting a sleeve or adjusting a curved seam.

Gore: A method of cutting fabric so that it flares out. It also refers to a triangular pieces of fabric sewn to add more fullness to a skirt.

Grading: Grading is used for seams with several layers. The seam allowances of the fabric are trimmed so that each layer is a different width. When it is turned, it has a smoother look than when all layers are the same width.

Interfacing: Interfacing is a fabric or fiber that is used in between the outer fabric and the lining to add body or stiffness to an area of a garment. High collared dresses require interfacing around the collar. Waistbands usually require interfacing. Interfacings come in a variety of fibers, densities, and stiffnesses.

Lining: Lining is done by creating an identical copy of the garment in question and attaching it to the inside of the garment in such a fashion that the edges are finished. Usually this is done by sewing most of the outer pieces together and sewing most of the lining pieces together. The outer fabric and the lining are then sewn together good sides together, clipped, pressed, and turned right side out. Obviously an opening must be left to turn the garment. In bodices, the opening is often at the shoulders, but can be anywhere.

Locking the Stitch: For hand sewing, this is knotting the ends of each thread used. For machine sewing, this is sewing in reverse a few stitches at the beginning and ending of each seam.

Pinking: Tiny cuts are made in fabric to create a pattern. Pinked patterns are best done on the bias, or sealed with something like parafin or Fray Check. This also refers to trimming the seam allowance of a seam with pinking shears to prevent ravelling.

Piping: Piping is used to edge a seam or appliqued band. Piping is usually a strip of fabric sewn around a cord. Commercial piping may be used. Commercial piping is sometimes woven so that it is a cord with strip attached as a seam allowance, this is also ok.

Puffing: Puffing is fabric which is pulled through an opening in a garment, such as a slash. Decorative puffing may be created by sewing fabric to the inside of a garment and pulling it through. It is not sewn on the outside of a garment.

Slashing: Slashing is a style which looks as if outer fabric has many cuts in a decorative pattern. Slash patterns must be documented. One may sew strips of finished fabric together to create this look or the fabric may actually be slashed or cut. Some fabrics may need to be sealed with parafin or Fray Check, but some such as leather or felted wool may not require a finished edge. Often the slashed area is longer than normal, making the slashed area bulge out.

Smocking: Smocking is a way to make period elastic. Fabric is pleated in tiny even gathers and embroidered over the top. Shirts and aprons may be smocked.

Stitches: Only straight (finely sewn running stitch) or blind hem stitch may be visible on the outer layer of a garment. Zig-zag stitching may be used when sewing a garment, but must be hidden from view.


Reference Books


Look for books with actual paintings, drawings, etchings, woodcuts, reliefs, tapestries, or photographs of actual historical garments. Xeroxes of redrawings or artist's conceptions will not be accepted as documentation.

Dover Publishing Co. Books -
The Complete Woodcuts of Albrecht Durer
The Complete Engravings and Etchings of Albrecht Durer
The Book of Trades - Jost Amman
Decorative Renaissance Woodcuts - Jost Amman
Vicellio's Renaissance Costume Book - Vicellio
Costumes Through the Ages, by Braun and Schneider
The History of Costume, by K. Kohler (This book has some construction information.)

Other Books -
The World of Durer, by Time Life Books
Hans Holbein, by Phaidon
The Landsknechtes, by D. Miller and G. Embleton, Osprey Men-at-Arms Series
Lucas Cranach, by Friedlander and Rosenberg
Bruegel, by G. Martin
Peasants, Warriors, and Wives, by Kieth Moxey

(The following 2 books have some construction information.)
Elizabethan Costuming, 1550 - 1580, by J. Winter and C. Schultz
Patterns of Fashion, 1560 to 1620, by J. Arnold (This book has some good patterns and photographs of period costumes and details.)

Out of Print (Library Books) -
The German Single Leaf Woodcut Series
The Triumph of Maximillian, woodcuts by Hans Burgkmair and others (by Dover)
History of Costume, by B. Payne

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