I don’t know about you, but I often read descriptions of medieval clothing and want to know more about the fabric: what did it look like and what was its texture?
Of sagas and sheep: Toward a historical anthropology of social change and production for market, subsistence and tribute in early Iceland
This article examines the change in women’s fashion that occurred during the 12th century. Garments went from loose and flowing to tightly fitted, featuring belts and laces. The author examines this cultural change through the romance stories complied in the “Lais” of Marie de France, specifically one featuring the character of Guigemar.
Based on the shirt fragments from the 15th century found at Lengberg Castle in East-Tyrol this paper describes the methods with which these shirts have been pleated, what type of stiches have been used for sewing and how the trimming strips were fashioned. Seventeen textile fragments could be identified as parts of shirts, fourteen of which feature either partially or totally pleated areas. Two sleeves with textile buttons and button holes, two sleeves with button holes, one sleeve with a textile button, one neckline and five fragments being either sleeve or collar are pleated on their entire width. One shirt each is pleated partially on the front, one of them with a preserved textile button. One sleeveless shirt is pleated at the shoulder.
The Handspinners of Paris, France: In 1270, a royal judge, Etienne Boileau, compiled “Le Livre de Metiers” (The Book of Trades) which contained the ordinances of 100 Parisian craft guilds. By consulting the surviving tax rolls of 1292, 1300, and 1313, it is possible to determine the extent to which these crafts were practiced.
Technological Development in Late Saxon Textile Production: its relationship to an emerging market economy and changes in society
Coptic textiles in most collections present a very rich iconography, somewhat derived from classical traditions, which has also attracted the attention of art historians. Very little of their work, however, has made any headway in our understanding of the contemporaneous meanings of Coptic textile images and other decorations.