Medieval Clothing

OLF WOLF ZERKOWSKI / ROLF FUHRMANN Z

Also available from Zauberfeder Verlag: ERKOWSKI To be dressed historically correct as a medieval re-enactor – it could not be simpler: the range of garments that those interested in the Middle Ages can now make themselves stretches from the AKE YOUR OWN AKE YOUR OWN R / High to Late Middle Ages (1200 to 1500), and from a simple maid to lower gentry. Panels with OLF

MEDIEVAL lifelike, coloured illustrations revive the different medieval classes through their clothing and F CLOTHING accessories. Clear, easily understandable pictures lead you through all the processes. UHRMANN BASIC GARMENTS FOR MEN Starting with the sewing techniques used in the Middle Ages even the layman learns how to MEDIEVAL neaten fabric edges, attach sleeves and make cloth buttons.

“The colourful pictures and rich illustrations penned by Rolf Fuhrmann turn looking at this book into a pure CLOTHING MEDIEVAL OWN YOUR MAKE CLOTHING treat and add to Wolf Zerkowski’s texts perfectly.” l ASIC ARMENTS FOR OMEN Jürgen Ludwig, www.landsknechtsportal.de B G W

“Thus this book is truly a great work, and surely an enrichment for those who seek a fundamental, practical approach to medieval fashion.” Pax Et Gaudium, 2004 B ASIC G ARMENTS

FOR W OMEN

64 pages, ISBN 978-3-938922-14-9

ISBN 978-3-938922-15-6 lwww.zauberfeder-verlag.de www.zauberfeder-verlag.de AKE YOUR OWN MEDIEVAL CLOTHING

BASIC GARMENTS FOR WOMEN l Wolf Zerkowski/Rolf Fuhrmann “Make Your Own Medieval Clothing – Basic Garments for Women” Original edition © 2004 Rofur5 Verlag Original title “Kleidung des Mittelalters selbst anfertigen – Grundausstattung für die Frau”

1st Edition 2008

Text: Wolf Zerkowski Illustrations: Rolf Fuhrmann Braiding & tablet weaving: Rolf Fuhrmann Translation: Tanja Petry Copy editor: Shaunessy Ashdown Editor: Miriam Buchmann-Alisch Art editor: Christian Schmal Production: Tara Tobias Moritzen Printing: AJS, Kaišiadorys

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner.

Printed in Lithuania ISBN 978-3-938922-15-6 www.zauberfeder-verlag.de

Publisher’s note: d This book has been compiled carefully. However, no responsibility is taken for the correctness of this information. The authors and the publishing company as well as their representatives can assume no liability for potential damages to persons or property, or for ﬁ nancial losses. Wolf Zerkowski/Rolf Fuhrmann Make Your Own Medieval Clothing Basic Garments for Women d Zauberfeder Verlag, Braunschweig, Germany CONTENT

CONTENT Preface ...... 5 Panels Noblewoman with falcon ...... 6 Soldier’s wife...... 6 Noblewoman wearing a surcoat...... 8 Old woman ...... 8 Peasant woman ...... 10 Girl carrying wood ...... 10 Boy herding geese ...... 10 Woman with basket ...... 12 Girl with baby ...... 12 Nun of the Cistercian order ...... 14 House maid ...... 14

Background information ...... 16

Working techniques On fabrics ...... 17 On colours ...... 17 Seaming techniques ...... 19 Stitching techniques ...... 21

Headdresses ...... 24 Barbette ...... 26 Veil/chin cloth ...... 27 Headscarf ...... 28 Undergarment ...... 29 Plain dress ...... 30 Bliaud ...... 32 Herjolfsnes dress ...... 36 Surcoat...... 39 Cloak/coat ...... 40 Hood ...... 41 Cloth buttons ...... 42 Stockings ...... 43 Shoes...... 46

Fingerloop braiding ...... 49 Tablet weaving ...... 54

Alms purse...... 59

Bibliography ...... 62

4 e e PREFACE

PREFACE hat did the clothes of medieval women look were regional differences and various specifi cations for like? What did children wear? And how can certain social groups or members of certain classes or W someone interested in the Middle Ages sew professions. such clothes himself? This book, with its richly illustrated and easily comprehensible instructions, presents typical The examples in this book are limited to “standard women’s and children’s clothing of the Middle Ages as well clothing”, which could have been worn with few changes as corresponding sewing techniques. during the whole era of the High and Late Middle Ages, that is, from about 1200 to 1500, by women of poor and The author, Wolf Zerkowski, has been re-enacting simple station as well as women of the gentry. medieval history, with a special focus on clothes, for many years. According to his strict specifi cations, Rolf For further sewing projects or for specifi c differences that Fuhrmann has created coloured drawings of medieval have to be taken into account for regional portrayals, the characters as well as graphics for the instructions in this reader would have to resort to further reading. book. This book, revised for the reprint, primarily contains However, to describe the whole range of women’s clothing instructions for interested hobbyists. The basic during the Middle Ages would be an almost impossible garments described can be remade with relatively little task. A short undergarment could, for example, have effort in terms of time, money or technical skill. We been worn by a peasant woman of the 13th century as recommend buying fabrics at sales, or else ordering well as by a noblewoman of the 14th or 15th century. from a wholesaler; leather scraps are available at leather shops. Also, try to avoid synthetic fibres or cotton, and Dresses were usually fl oor- or ankle-length, though there you will get an acceptable garment fit for any kind of were exceptions, as there were with hoods. For example, medieval event! certain people wore hoods with long liripipes even when short liripipes were fashionable. For those with deeper interest in medieval re- enactment, the appendix offers a list of further reading, Apart from some pieces or combinations of clothing recommendable organisations as well as sources for worn by almost all classes from 1200 to 1500, there material and accessories of any kind. 5 e e PANELS o o

6 o o PANELS

NOBLEWOMAN WITH FALCON ictured is a 12th century noblewoman wearing The bliaud is a typical dress style of the 12th century. In a dress called a bliaud. Even a noblewoman was Germany this piece was also called blîat. Originally the P controlled by her husband, and was watched name derives from a special fabric woven with golden thread and spied upon by relatives, servants and other courtiers which was used to make these dresses. However, in time the during his absence. The pressure put upon noblewomen name was used for this cut in general, regardless of fabric. to bear children – particularly male successors – was especially high. The bliaud, like the surcoat, is worn over a shift and was the nobility’s garment from about 1150 to 1200. Afterwards, From the 12th century onwards the number of children it was seldom pictured in medieval paintings or sculptures, born to noble families increased, on average about eight but instead also as a dress for common women. to ten children per wife! However, due to the increasing help with parenting and child care by wet nurses, mothers During the 13th century this garment went completely out were at least partially relieved of their duties, and were of fashion and was replaced by the surcoat. Above the veil able to relax, for example at a falconry. and barbette a golden circlet is worn.

SOLDIER’S WIFE omen played a central role among the Many soldiers lost their wives during a campaign. One camps of medieval armies. Most were reason was because they had to bear children under W members of the lower classes, whose disastrous hygienic circumstances. And whereas men could former lives in poverty and dependency as servants, quite simply just start a new relationship, the loss of a wet nurses or lady’s maids had become so exhausting to guardian, be it because of death or arrest, was a substantial them that a life as wife or companion of a soldier seemed threat to a woman. a last resort. In the case of those women who were already older, had On their shoulders they carried the complete, if humble, several children to care for or had not taken any material belongings of a soldier’s family. They gave birth to children, advantage of their previous relationship – something that most of which did not survive the ordeals of the campaigns. was usually only possible for married couples – they were But it was also the women that supported soldiers while in danger of sinking into the socially stigmatised group of looting. unprotected women. Casual labour, begging or prostitution thus became their fate. As pay was often enough not to be taken for granted, loot was a necessity to secure the existence of the Gathering the dress, or parts of it, under the belt was a soldiers’ families. It was a fight for survival rather than handy way of wearing it, and can often be seen in medieval an inherent criminal tendency that prompted soldiers to paintings. A straw hat was worn above the headscarf if steal. necessary. o o 7 PANELS

NOBLEWOMAN WEARING A SURCOAT rom the 13th to the 15th century noble women, than by social isolation and often also boredom and and later also commoners, liked wearing outer lovelessness. F garments with so-called “gates of hell”. They were sleeveless surcoats with low-cut armholes. These Lonely and boring hours were fi lled with handiwork were often lined with fur or else embroidered. The term considered “appropriate”, for example embroideries, which gates of hell was apparently coined by the church, which still fi ll many museums even today. denounced the “shameless” insights those armholes offered. Intimacy was primarily limited to the shared bedroom. Marriage was mostly seen as a way of regulating social The headdress pictured is a pillbox. The wimple beneath the relationships, not as a union of body, let alone soul. Too pillbox was fastened on top of the head with a pin, the cap little love was absolutely no reason to divorce; the wedding itself then pinned to the cloth. vows referred only to children and to faithfulness. Due to high mortality in these times marriages usually lasted no The life of a noblewoman was, in contrast to common or longer than 10 to 15 years. rural women, less defi ned by work and fi nancial worries

OLD WOMAN he picture shows an old woman from an urban to humiliation and oppression, especially from men. In environment. A widow, for example, could not many cases only prostitution or begging remained for them T just take control of her further fate and life as ways to eke out a living. after her husband’s death. At best, she was able to choose between several candidates for a new marriage that suited Overall, a medieval woman did not lead an easy life. If she her family. was enclosed in the social network and was compliant, she was at least somewhat well-off. If she, however, In the lower classes the pressure to marry was less dropped out of this network due to some stroke of fate, pronounced. But the step from poverty to prostitution was for example the death of her husband, or perhaps left her not a big one. Financial distress was often followed by a traditional role out of her own free will, she could quickly social outclassing of the women, and thus they were subject be bad-off. s8 sPANELS s 9 BACKGROUND INFORMATION

CHANGES IN WOMEN’S AND CHILDREN’S CLOTHING DURING THE MIDDLE AGES n the Early Middle Ages, roughly from the middle of the 5th century to the year 1000, women wore simple, I shirt-like dresses. They did not have real “cuts” yet, as the width of the dress was deﬁ ned by the width of the loom. These clothes still followed Celtic or Frankishu fashion.

It wasn’t until the middle of the 12th century that clothes were made according to special cuts and measures, and as CHILDREN’S FASHION a result of these techniques, a very body-hugging fashion he lion’s share of medieval children, in the country developed. as well as in cities, passed into working life at the T young age of seven to help support their family or The women’s dresses were now fi tted closely to the upper just to make their own living. body, by being laced either at both side seams or at the back. By studying medieval paintings it can be seen that during the whole High and Late Middle Ages babies of all classes The sleeves of those dresses opened like a trumpet from were always wrapped tightly in bands of cloth. Arms, legs the elbow to the wrist, or else had fl oor-length loops at the and torso were fi rst wrapped separately, then the torso and wrists. The bottom half of the dress was wide and often the extended limbs were tied up like a mummy with a wider ended in a vast train. bandage.

To gain more width, triangular pieces of fabric called “godets” Once they had outgrown infancy, children wore, unless were inserted into the skirts. The lacing of the upper part of there were festive occasions, fairly comfortable and simple the dress was sometimes highlighted by a belt as well. This clothes such as loose shirts and generously cut little coats or type of dress was called a bliaud. cloaks.

Towards the beginning/middle of the 13th century the Another interesting detail catches the eye when looking elaborate sleeve types disappeared, as did the train. at children’s portraits: boys sometimes wore girl’s Sleeves were now worn ﬁ tted tightly to the forearm, and clothes. The main reason for this was probably that the dress displayed excess length all around, so that it had children up to the age of three or four had not yet learnt to be gathered up while walking. Belts were still worn to control their bowels or bladder, and that hygienic at the beginning of this period, but then disappeared conditions hampered staying dry. The wide children’s quickly, allowing the cloth of the dresses to fall freely and skirts were more practical than trousers. Also, there in rich folds. were no underpants: under their long skirts the children were naked. They also wore no shoes until they were This fashion was kept in Germany approximately until able to walk. the middle of the 14th century, then body-hugging dresses came into fashion again. Up to this point dresses had been rather high-necked, but women now started to show some décolleté.

16 WORKING TECHNIQUES

ON FABRICS ON COLOURS uring the Middle Ages, people normally used nother way of expressing one’s social standing in linen, hemp and wool. Even the nobility’s clothes the Middle Ages was the use of expensive colours. D were made from these materials, yet their fabrics A Members of the nobility as well as richer merchants had a much better quality. and better-off craftsmen were able to afford dyed fabrics whose brilliant colours were much more durable, as costly Linen and hemp were the most common fabrics for light dying ingredients were used. garments and undergarments, and were often home-made. uOuter garments made from linen were rather rare. If the weather The simple folk, on the contrary, normally had to make do was too warm, the outer garment was simply taken off. with cheaper, undyed fabrics or with ones that tended to quickly lose colour. All colours were fairly strong, so that Wool was the all-purpose fabric for almost all types of the street scene during the Middle Ages was quite colourful, medieval clothing – but sheep’s wool, not alpaca or other and not at all bleak, like many Hollywood movies would like modern types of wool. Loden cloths are suited best. to make us believe.

Silk and brocade were imported from the Orient until the Shades of brown could be dyed with a number of local late 13th century. Only the richest could afford it, as it was plants, for example nut shells, and were thus affordable. extremely expensive. Silk produced today, however, does not comply with the medieval one. Brocade with medieval Shades of blue were the most popular, as they could be patterns is hard to come by as well. made with local dyes (dyer’s woad). Usually they were a pale blue. The only way to get strong, dark blue was indigo, Cotton did not come into use until the late 13th century as which was very expensive. a blended fabric with linen (swansdown). Historical fi nds dating further back must have been imports from the Orient, Shades of red were traditionally popular with the nobility, and undoubtedly rare. Because of cotton being short-fi bred, as they symbolised blood. Red was available quite cheaply it could only be processed as a blended fabric. You should from madder, and was also used by the simple folk. not be tempted to use pure cotton. It is cheaper, but will ruin your work, as it is not historically accurate! Shades of yellow: strong, golden tones were also worn by the nobility, while pale yellow was, in some areas, used to Velvet was fi rst used towards the 14th century. As medieval mark outsiders to society (for example to stigmatise Jews velvet is in no way similar to today’s velvet, you would best and prostitutes). do without it. Shades of green were usually very expensive, as they were Leather was mostly worn as working clothes, and was blended colours. As far as colour symbolism is concerned, primarily a mark of the working class. It was used for bags, greens were commonly associated with young people. belts and shoes. Incidentally, there was no black leather during the High and Late Middle Ages. Black was almost exclusively worn by the lower clergy, but came into fashion with merchants and other “better- Synthetic fi bre fabrics should be avoided, too, as the off” classes at the end of the 14th century. garments otherwise tend to resemble a costume rather than clothing of the Middle Ages. The same goes for borders, keep Parti-colour, meaning garments divided in halves, or an eye out for ones made of the above-mentioned materials quarters, with two or more colours, gained in importance and not of synthetic fi bres. Tablet-woven borders are suited among menials, messengers and especially lansquenets best – everything else just resembles carnival. during the Late Middle Ages.

17 BARBETTE

Fastening of a barbette and pinning the veil to the hair with barbette pins, 13th century onwards Barbette pins lGolden circlet

Alternative way of wearing barbette and veil with a circlet. The veil cloth could be made of thin fabric (above) or else of linen (left).l

26 VEIL/CHIN CLOTH

Veil Chin cloth

Chin cloth attached Typical combination: to spiral braids chin cloth with veil (“Gorget”,“Schleier” or “Wimpel”)

Headscarf/veil from lthe back

Somewhere between 70 x 90 cm and 90 x 110 cm 27 BLIAUD

BLIAUD he bliaud or bliaut, an early type of women’s dress, was worn combined with the chemise and T was a ﬁ gure-hugging dress with trumpet-like sleeves and a train.

Originally the name derives from a special fabric woven with golden thread, which was used to make these dresses. However, in time the name was used for this cut in general, regardless of the fabric.

The undergarment was ﬁ tted tightly to the neck, so that as little skin as possible could be seen. The sleeves were either sewn together at the forearm after putting the dress on, or else laced, so that they, too, ﬁ tted tightly.

This type of women’s dress was worn from around 1150 Variant with lacing at the side seams to 1200, almost exclusively by noblewomen. Afterwards, it was seldom pictured, but also served as a dress for common women. It can be guessed that this type of dress went out of fashion quite quickly and disappeared completely around 1225.

An example of the bliaud is in the Marienschrein in Aachen, Germany (dating back to 1220). A midwife pictured there is wearing a bliaud-like dress, with its trumpet sleeves hitched up and tied together in a knot behind the shoulders. More evidence, dating back to 1145-1155, can be found at the cathedral of Chartres, France.

This type of dress was laced to be quite ﬁ gure-hugging Lacing at the back – either at the sides or at the back. The lacing at the back indicates that the woman must have been nobility, as she would have needed someone to actually close the lacing in this inaccessible place.

32 l l BLIAUD

Variant with lacing at the side seams

l33 CLOTH BUTTONS

CLOTH BUTTONS The making of cloth buttons (metals were precious!) according to Textiles and Clothing, Museum of London. Buttons were fastened directly on the edge of the button-facing. The button-holes were placed extremely close to the hem of the garment as well, and the overlapping of the button and button-hole sides lwas minimal!

Buttons were mostly made of tin, sometimes bronze, gold or silver. The ﬁ rst buttons appeared in the middle of the 13th century, and were used almost exclusively by the nobility. 42 l STOCKINGS

STRETCHABILITY OF THE FABRIC For making stockings, you should choose a stretchable loom, forming the frame for the woven fabric. “Weft” is the fabric, as they should fi t your leg tightly, but on the other crossing threads, which are “shot” through the warp threads hand the calf has to fi t through the narrower knee area. with the shuttle. Woollen fabrics, however, are generally quite infl exible: the warp threads that go through the whole length of the However, if you turn the fabric by 45° before cutting it, so fabric are just as inductile as the weft threads crossing them. that warp and weft run diagonally, you will get a surprisingly “Warp” is what a weaver calls the threads attached to the stretchable fabric lengthwise as well as in cross direction!

Weft threads

Warp threads l43 FINGERLOOP BRAIDING

CORDS AND LACES f plaited bands were used to lace pieces of garments together, the ends of those cords were often covered by I pointed metal tips. How to make these tips is described in detail in Make Your Own Medieval Clothing – Basic Garments for Men.

Numerous types of fi ngerloop braiding are common in many old cultures all over the world. The medieval use of Serging Points bands and cords made in such a way are documented for the the holes through era between 1150 and 1450 by textile fi ndings in London which the laces or cords (see: Crowfoot/Pritchard/Staniland, Medieval fi nds from are pulled excavations in London, London 1992). Fingerloop braids were, however, also used outside this era, as period paintings show.

This technique is easy enough to learn, and once you have understood the basic principle, many different types and Lace with point thicknesses of cords can be produced by using different braiding variants.

Such ﬁ ngerloop braids were very common in medieval times. They were, for example, used as laces on garments, for alms purses and as edging for hair nets. Theh cords of the London ﬁ ndings consisted of twice-wound silk strings and were usually of one colour. Bands plaited with two, three or four colours were an absolute exception. We can, however, assume that linen and wool were used in addition to silk for making those braided cords. By plaiting bands with different colours, some simple patterns can be achieved.

As an example we will present the braiding of a ﬁ ve-loop band (=ten threads). This was, beside cords made with seven loops, the most common thickness. Five- and seven-loop bands can be made by one person alone; for more complex h bands an assistant is required.

Lacing on a dress

u TABLET WEAVINGu

BANDS, BELTS AND BORDERS WORKING TECHNIQUE Tablet weaving is a band weaving technique already The technique of weaving means joining parallel threads exercised about 2500 years ago, and its use is documented in (warp threads) with a crossing thread (weft thread). Scandinavia, Northern and Eastern Europe as well as Asia, As a means of coordinating and twisting these warp North Africa and Egypt. During industrialization – due to threads during the weaving this special technique uses cards the possibility of machine-woven bands – the tradition of with holes in them, through which the warp threads run. this weaving technique was almost lost in many cultures. Depending on the number of holes, how threads of different Tablet-woven bands were used as borders on garments, colours or of the same colour run through which holes and as belts or as garters. They are both strong and decorative how the cards are twisted during weaving, different patterns and were, for example, even used as bridles and cinches in and structures develop. ancient China. Contrary to fabric made on a loom, however, the weft thread is only seen on the edges of the woven band and has no infl uence on the colour of the weave! TOOLS AND MATERIAL Besides thread and the necessary cards – the basic Concerning the technique, tablet weaving is a mixture implements – two screw clamps for mounting the threads between fi ngerloop braiding and weaving on a loom, as and a piece of wood for keeping the gaps between the elements of both techniques come into play: the twisting threads, called the shed, apart while pushing through the of the different threads with each other and the joining of weft come in handy. the threads with a weft thread. The tablets were, depending on the regional conditions, made of wood, horn, stone, The cards themselves should not be too thick, as the parchment, leather or bones. Threads used were wool and deck of cards that has to be moved tends to get bulky linen as well as cotton, hair, silk or even threads of silver and hindering otherwise. On the other hand, they should and gold. Surviving bands from the Middle Ages, as for not be too thin, to prevent them from bending during the example a belt made for the Bishop Witgarius of Augsburg, weaving! All cards and holes should be as congruent as southern Germany, around 879 AD, show an unbelievable possible to avoid an irregular tension in the woven piece craftsmanship. later on! The use of this handicraft practise was at fi rst restricted to the peasant population, who used undyed woollen The breadth of the woven band is always defi ned by the threads for it. But in the Early Middle Ages, tablet weaving number of cards used, as well as the thickness of the developed more and more into a respectable pastime for thread. noblewomen, with correspondingly richer materials like silk, gold and silver. Each card is one warp thread in the fi nished band. The The revival of the art of tablet weaving in Western thread for the warps (picture p. 56) has to be strong Europe was triggered by the research of Margarethe enough not to be rubbed through by the constantly Lehmann-Filhes and her book Über Brettchenweben (On Tablet moved cards. It goes without saying that the edges of the Weaving), published in 1901. cards and those of the holes in them must not be jagged or sharp. 54 u u

h h

A LM S P U R S E

ALMS PURSE n alms purse is a simple, rectangularly cut, bag- They were usually made of cloth, but those for every- like pouch. It was either fastened directly to the day use as a purse or bag for small things like steel and A belt with a cord, or to the ring of a small metal ﬂ int were sometimes at least partly made of leather. holder riveted to the belt. Small knives were, just like the purse, part of the As medieval clothing did not have pockets, money or basic equipment of a medieval person. As a host did personal effects were kept in the purse. not provide cutlery as we know it today, people used It was called an “alms purse” because wealthier their own knife as all-purpose tool. Sometimes it was people wore, when going to church, special, richly combined with a pricker, a kind of stiletto, to pick up decorated pouches containing small change, which pieces of meat. was given to beggars as alms, so that they would pray The belt had no loop behind the buckle to hold the for the salvation of the donor. Many of the surviving loose end. Instead, it was common in medieval times to examples were also decorated with tassels and wrap the belt’s end around the belt, then tuck the end

embroidered. through the newly-formed sling and let it hang down One of the sources for these pouches is the Codex freely. Manesse, which contains many pictures of such kinds From the ﬁ rst half of the 13th century the belt started of bags. to disappear from women’s fashion. g g Buckle variant from around 1200 to 1350 Pursehanger, variant of the 12th century

Buckle variant from around 1350 to 1500

Fastening of the pursehanger on the belt

59 BODY MEASUREMENT CHART

Name: Date: . . CAPTION

Height: cm Weight: kg

K1 – End of one shoulder to end of other shoulder K ____cm a K2 – Arm length with bent arm from shoulder to wrist bone K ____cm K ____cm K ____cm K ____cm c d e b K3 – Side of the neck to end of the shoulder

K4 – Bust circumference K ____cm around the fullest point K ____cm h k K – Circumference 42 under the bust K1 ____cm K ____cm f K5 – Waist circumference approximately at the navel K ____cm 3 K ____cm K6 – Hip circumference g around the fullest part K2 ____cm of the buttocks K4 ____cm K7 – Thigh circumference K ____cm K – Calf width 42 8

K5 ____cm Ka – Head circumference K _____cm K – Neck width K6 ____cm i b Kc – Wrist

Kd – Forearm circumference

Ke – Upper arm circumference K ____cm 7 Kf – Shoulder to waist

Kg – Waist to hip

Kh – Back waist length from back of the K8 ____cm neck to waist

Ki – Hip to ankle joint

Kk – Shoulder to bust

For photocopying. This page is also available for download at www.zauberfeder-verlag.de. Body measurement chart from “Make Your Own Medieval Clothing – Basic Garments for Women” W

OLF WOLF ZERKOWSKI / ROLF FUHRMANN Z

“Thus this book is truly a great work, and surely an enrichment for those who seek a fundamental, practical approach to medieval fashion.” Pax Et Gaudium, 2004 B ASIC G ARMENTS

FOR W OMEN

64 pages, ISBN 978-3-938922-14-9

ISBN 978-3-938922-15-6 lwww.zauberfeder-verlag.de www.zauberfeder-verlag.de