hurst, janis - creating and wearing 15th century headdress

Creating & Wearing 15th Century Headdress (for Women)

A class by Lady Edyth Miller, CW, APF

MKA Janis Hurst, [email protected]

Image references listed on page 15 1

Introduction & Objectives There is no century in the medieval period that can boast such a wide variety of women’s headdress like the 15th Century. As Western Europe approached the Renaissance, new technologies began to change the way medieval cultures produced the objects of their lives, including their clothes. This evolution is seen clearly in the myriad examples of headdress found in 15th Century painting, illumination and sculpture. It is the objective of this class to discuss four of these headdresses by detailing their characteristics, theorizing on their period construction, devising modern methods of re-creating them, and finally, providing tips on how the modern medieval woman can successfully wear them.

Women’s Headdress at the start of the 15th Century Before the 15th Century, women’s headdress had changed little. Coifs, popular since the Viking period, remained a staple for both men and women into the 14th Century. A simple white veil, also popular during the 14th Century, can be found in depictions of women from the Byzantine era forward. At the conclusion of the 1300’s, however, the simple headdress began to get a facelift- a sign of things to come. Sometime around the middle of the 14th Century, a new style emerged that removed the linen components of the previous centuries. Tight braids of hair that twisted up to create short, tube-like features at the sides of the face were decorated very simply by a leather or metal circlet. This circlet was shaped to fit around the braids (fig. 1). The whole style is called Crespinettes. A variation of this style includes netting fitted over the braids, and this morphs into one of the early headdress of the 15th Century- the reticulated headdress (fig. 2).

There is some confusion among re-creators as to the exact construction of the reticulated headdress, and two forms, both of which seem valid, are reproduced in these modern times. Both versions support, in some way, the literal shape of things to come, so it seems that neither can be ruled out. The more commonly seen version is known as “cauls”. Cauls consist of two padded ovals placed over the ears, paired with a circlet and topped with a veil. Cauls can either be independent pieces placed over buns of hair, or braided buns of hair capped with netting. The second version of reticulated headdress assumes that the cauls seen in artwork actually wrap around the back of the head, fully encasing all the hair. This was then used as a “bed” for a circlet or crown, and most often, no veil was required. The idea of encasing all the hair under a headdress may be a reason for one of the most distinguishing features of 15th Century women. Upper-class women grew their hair long, but they took great pains to heighten their foreheads by plucking their hairlines back. Eyebrows

were also plucked for a general “hairless” appearance. Most of the headdresses in the 1400’s cater to this look by sitting back on the crown of the head, rather than simply on top (fig. 3). This trend became the ideal of feminine beauty that lasts through the century. It is from this point that 15th Century headdress begins a rapid succession of change and variation. The name of the game was elongation of the head, and by the end of the century, this would be taken to one of the most iconic “medieval” extremes. It is interesting to note at this point that lower class women did not follow these trends, and adopted a versatile headdress that would remain constant throughout the century which will be discussed as the fourth and final headdress during this class.

fig. 1

fig. 2

fig. 3


The best examples we have today of the heart-shaped headdress come from the Devonshire Hunting Tapestries dating from the first half of the 15th Century (fig. 4). These four tapestries hold a plethora of information about the culture and lifestyle of 15th Century gentles, and are an invaluable resource for costuming research in this era. They are the only surviving large tapestries from the 1400’s , and appear to have been made in a relatively short amount of time– perhaps only a decade. This point is relevant because the change of style from the first tapestry to the last is marked, proof that style was in constant shift during this period.

Within the tapestries, one can see many different versions of the heart-shaped headdress– different colors, different detailing and different heights. Is it also clear that the headdress was independent of the gown– the two rarely match, but instead compliment or contrast each other. Take for example, in fig. 4, the large number of red headdresses worn with blue gowns. Artistic license in medieval art makes it difficult to determine the reality of what the headdress was– how it was created and worn– but by taking a survey of the tapestries we can begin to glean a certain amount of typical attributes. There are two parts to the headdress– a supportive headpiece with a horn-like shape and a top shape that creates a “double-hump” look. The under headpiece’s horn shapes sit over or just above the ears and point from the temples in a general upward and outward direction. In some versions, the horns are clearly joined in the middle (fig. 5), while in others (fig. 6) their connection is hidden or simply does not exist. The top piece may be a padded roll (as it looks in fig. 6), but in many other versions, the top piece could more accurately be described as a veil or draped fabric placed in a swag over the horn supports, hanging over them with lovely ruffled or dagged edges. In some versions, a small loop is visible in the center of the headpiece, resting on the forehead. This loop shows up in later styles and may be related to stabilizing the headdress. (More on this later.)

fig. 4

The Heart-Shaped Headdress The first evolution of the reticulated headdress was the “heart-shaped” headdress. This headpiece is derived from the fully-encasing version of the reticulated headdress, and is known today by many other names including “padded roll headdress” and “bread loaf headdress”. Of the four popular headdress styles of the 15th Century, this headdress is the earliest, and bears a sense of “uppity” grace, typical of the upper class woman.

fig. 5

fig. 6


Another example of the heart-shaped headdress is found in the illuminations depicting Queen Isabeau of France receiving a book from the 15th Century female author, Christine de Pizan (fig. 7). In this image, a definite padded roll is shown, wrapping around the head and resting atop the supportive horns. In this case, it is hard to determine if the supportive horns are formed fabric pieces or elaborately styled hair. The small forehead loop is visible as well. The elements of the heart-shaped headdress have a relative scale to each other. The top, whether it be a padded roll or a draped piece, is the dominate feature of the headdress, while the supportive headpiece is a secondary item, meant to compliment but not overwhelm the top. In cases where the padded roll is evident, the

roll looks to be anywhere between 5 to 8 inches in diameter. In fig. 7, the roll is highly decorated with beading, while the horns are left undecorated, and in later examples (fig. 8), the entire headdress is treated as single piece and decoration and detailing are not limited to merely the top.

The heart-shaped headdress can be found in period images into the second half of the century (fig. 8), but there is an obvious evolution to the piece from the earlier examples found in the Devonshire Hunting Tapestries. This evolution is seen in the addition of a veil and the pushing together of the two “humps”. This nearly vertical version is know as the forked hennin (fig. 9), and can be considered both an evolution of the heart-shaped headdress and a variation on the later hennin. On the whole, the heart-shaped headdress appears in imagery to be a cumbersome item, extending off the head in almost grotesque scale, and it is easy to imagine that women of the early 15th Century spent most of the time walking around with severe headaches from the weight. The key to keeping the headdress from becoming a torture item, however, is balance. In each of the period examples, you can see a general spreading of the weight across the head. Those that have vertical height sit more vertically to begin with (figs. 8 & 9). Those with a horizontal plane take advantage of the horns and their angle to bring the weight not only to the temples, but to the sides and sometimes back of the head, similar to a flying buttress found on a gothic cathedral (fig. 7). The beauty of this headdress is found in the finishing details. A simple padded roll sitting on some

horns of fabric or hair are nothing fancy or special, after all. The heart-shaped headdress is finished with beading, veils, tails, netting, and drapery in all number of configurations. These are, in the end, the essential elements of the headdress.

fig. 7

Beauty & Innocence In studying the various medieval images of female headdress, one very clear idea comes across, and it is a “style” that can be a challenge to recreate. This is the idea of innocence. Women of the 15th Century (and indeed throughout most of the Middle Ages) were plagued by the concept of original sin. For a woman to be truly beautiful, she had to embody the innocence and virtue of a virgin—the Virgin Mary to be exact. Beauty for the 15th Century woman, therefore, was about youth and vulnerability, but it needed to be accompanied by a grace and stoicism usually found only in the older matron. It is important to keep this concept in mind when re-creating the styles of the 15th Century.

fig. 8

fig. 9


Constructing the Heart-shaped Headdress (Modern Techniques) The heart-shaped headdress is easy to construct from a very small amount of fabric and a few additional elements. I chose to create a heart-shaped headdress that would be appropriate during the middle part of its popularity by incorporating a veil-like drape, but on the whole, my version is as basic as you can get with this style. You will need: ♦ Two coordinated pieces of fabric; one for the padded roll and one for the supportive underpiece. ♦ Medium gauge wire ♦ Fiber-fill or similar stuffing material ♦ Thread (match color to your fabric) ♦ Decorative elements, such as beads, netting, a broach, etc. Step one: Measure your head. Using either a tape measure or some ribbon, measure your head in two places. First, measure around your head in the location you wish the “hairline” of the headdress to sit (across the forehead, over the ears and around the nape of your neck– roughly). Add at least .25” for seam allowance and call this “A”. Then, measure the distance between the front center of your hairline to the back center (nape of neck), over the center of your head. Divide that measurement by 2 and add some for the seam. Call this “B”. Step two: Create the Supportive Horns

Cut a piece of fabric with a length of measurement A and a width of measurement B (img. A). I find it helpful to use a salvage edge, if possible, along the length to be the bottom, visible, length of the horns. If you are unable to use a salvage edge, be sure to add hem allowance to measurement B, and sew the hem first. Fold the fabric in half along the length and sew together to create a short “sleeve” that will fit on your head. Leaving the sleeve inside out, place it on your head, positioning the edge along your hairline (where you measured originally to cover your hair and at least most of your ears). Without pulling the sleeve up out of position, find the center of the front and back (the back will be the seam you just made), line them up on your head so they are centered to you. Then, bring the front and back top edges together (lined up along the top) and pinch down to your head. This will not be the exact top of your head, but should instead be somewhere near the crown of your head. Pin the sleeve closed at that point and remove from your head. Lay the sleeve out with the pin centered (the sleeve’s seam will be centered in back), and place a pin on the left and right at the very sides of the sleeve about .25” down from the top (img. B). With a pencil, draw a curve that joins the three

pins. Sew the sleeve shut at the top along this curve. Cut away the extra (at about .25” above the curve)(img. C). Turn the sleeve right-side out. Stuff the two horns with fiberfill, being sure to pack it tightly at the narrow ends. Place enough fiberfill into each side to fill the horns down to your ears (img. D). You may need to try it on a few times to get the right amount of filling on each side. Once filled, you can place a lining inside, but I prefer to leave the fiberfill accessible so that I can adjust it more easily after placing on my head.

img. A img. B img. C

img. D


Step Three: Create the Padded Roll Out of your other fabric, cut a piece of fabric approximately 17” long (long enough to go around your head plus about 3 inches) and between 5” to 8” wide. The wider you cut it, the thicker your padded roll will be. Sew the fabric into a long tube. Leave one end open. Turn the tube right-side out. Cut a length of wire about two inches shorter than the length of your tube. You may need to trim the wire down later. Secure the wire against the seam and pin into place along the length, then use the fiberfill to stuff the tube. Pack the fiber-fill tightly, but not so tight that bending the tube into a circle is difficult (img. E). In general, you want the filling full enough to avoid large “creases” in the curved tube. You will need a long dowel or similar object to help you get the stuffing down to the closed end. Once the tube is fully stuffed, turn the open end in to leave a folded edge rather than a cut edge (img, F), then tuck the closed end into it. Place on your head to check size– you want about two finger widths of space between your head and the roll all around. Once the size is adjusted accordingly, stitch around the folded end to close the roll (img. G). Step Four: Create Finishing Details Using the same fabric as the roll, cut a length of fabric that will drape from the interior front of the roll to a desirable length, but no longer than your shoulders. Fold the fabric lengthwise and trim the front edge to make it narrow– this will help in fitting it onto the roll. Leaving the fabric the same width along the entire length will result in more folds along the sides of the headdress which may not lay properly. Hem all edges. If you wish, curve the bottom (where it hangs loose) or go fancy with dagged cuts. Stitch the drape to the roll on the inside of the front, being sure to line up the centers. Stitch only the front edge, leaving the other three edges free. Pull the drape up through the center so that it hangs over the roll in the back. Step Five: Putting the Pieces Together Place the supportive underpiece on your head and stand in front of a mirror. Place the padded roll onto it, centering it to your face. Bend the roll (the wire will help) into a heart shape that just covers the underpiece at the center forehead then rises out and back to meet the tips of the horns on either side. Pin the roll in place at the front center, and at the two horn tips. Adjust the back of the roll as needed as well, using your own aesthetic judgment. Remove both pieces and stitch them together at your pinned points (remove the pins when complete). As a final touch, add a decorative broach or button to the front center of the roll.

img. E img. F img. G

Completed Headdress


In the case of the horn & veil headdress, elongation meant vertical height. This is accomplished one of two ways, and both of these ways can be classified as the horn & veil headdress though they employ decidedly different means. The first consists of two padded horn shapes placed at the front of the head with a veil placed over them and pinned into place (fig.10). The second consists of a wire frame creating antennas (sometimes adding a great amount of height) with a light-weight veil positioned over it (fig. 11). The first version (we’ll call this the horn version) usually only adds a few inches of height and generally point either slightly forward or directly up. The second version (often referred to as the “butterfly”) is fairly standard across the imagery

and appears more on middle class women that those in the upper classes. Fig. 7 on page 3 illustrates this point. The horn version, however, appears on women of either class with wealth of the wearer harder to determine.

The iconic image depicting the horn version of the horn & veil headdress is Rogier van der Weyden’s Lady Wearing a Gauze Headdress (fig. 12). The headdress in this painting shows the middle of the road as far as height and angle of the horns, as well as the basic way the veil was worn. This headdress also appears to have a third element– a small cap under the veil that gives the back of the head lift– but not all versions of the horn & veil have this. The image also clearly shows the pins used to keep the veil and wimple in place, indicating that keeping such details hidden was not a priority at this point in time. The horns in this version are connected across the top of the head, similar to some versions of the heart-shaped headdress. There appears to be padding in the horns, but the rigidity of them (seen on the Lady’s left-side horn) indicates that a sturdy frame may be used. There are several examples of this headdress, and all consist of nearly the same elements, though in each version it is worn a little different (figs. 13-15). The

The Horn & Veil Headdress Evolved from the two part version of the cauls (one oval over each ear), the horn and veil headdress takes the idea of the heart-shaped headdress– two humps elongating the head– in a different (literal) direction. This headdress is later in general than the heart-shaped headdress, and can be considered a later version of it. In many period images, the horn and veil and the heart-shaped headdress are seen side-by-side.

fig. 10 fig. 11

fig. 12

fig. 13

fig. 14


woman in fig. 14 does not wear a wimple, but the height on the back of her head does suggest she may be wearing a cap. The woman in fig. 15 wears her veil in a manner that nearly conceals the horns altogether, and her wimple is tight and small. The woman in fig. 13 wears the headdress almost the same as the van der Weyden woman, but the cap appears to be missing. Another iconic image of the horn version is found in Jan van Eyck's portrait, The Marriage of Arnolfini (fig. 16). The lady in this image wears more demure horns in terms of scale, and they are finished in a completely different manner. They are the color of hair, but they are painted in a manner that

suggests a smooth finish. It is possible that the horns are tightly braided then covered with a fine mesh to hold them in place. Another possibility is that the horns consist of stiffened fabric that happens to be the color of hair and are independent of her hair. In either possibility, the detail of the cording at the base of the horn is feasible. This headdress also sports a veil with a layered-ruffle edge, but no cap exists to heighten the back of the head.

Another portrait painted by van Eyck (fig. 17) shows this style of the horn version again is slightly different detail, but it is still difficult to determine if the horns in this case are netted hair or covered forms. The veils on all versions are of interesting note. In the van der Weyden portrait, the veil is gauzy with a matte texture– no doubt a tissue weight linen. The veils in the van Eyck paintings are heavier and opaque. Others (fig. 10) are heavily layered, but a single layer does not appear to be shear. In the butterfly version (fig.11), the veil is worn at different sizes, but all appear to be of light-weight though not shear material. The many different veil types may be related to class (the woman in the van der Weyden portrait is lower in class than the van Eyck woman, for example). It may also simply be a matter of what was available. The myriad types of veils indicate that, when re-creating, what you have on hand should work, but the higher the class you wish to portray, the better the quality of the fabric.

At the time of this class, the physical example of the horn & veil headdress is not available, and I have no method of construction to share. We will as a class, however, brainstorm possible ways to accomplish this look.

The Houppelaunde Before the 15th Century, the dress of choice for most women, of any class, was the tightly fitted cotehardie or kritle. By the start of the century, however, this style became merely undergarments for the long, high-necked houppelande (pronounced hoop-lawn). This gown sported long and full sleeves and in general consisted of several yards of fabric. It was belted tightly just under the bust with a wide belt, creating pleats. Both solid color and patterned fabrics were used, and several depictions show fur lining. At the start of the century, the houppelande’s neckline was high, revealing little of the neck and upper chest. As the style shifted, the neckline would plummet and eventually turn into a new style– the Burgundian. Both the horn & veil and heart-shaped headdresses are best worn with a houppelande.

fig. 15

fig. 16

fig. 17


The origins of the hennin can be traced to two possible sources. The first is the heart-shaped headdress version known as the forked hennin (fig. 9 on page 3). The second is the horn & veil headdress version that uses a short cap to add height to the back of the head (fig. 12 on page 6). In fact, it is feasible that the various types of hennins were derived from these two originals independently. This would explain the variety found in this single type of headdress. Remove the horns from the horn and veil headdress, and the veil and cap are left (figs. 18 & 19). Remove the padded roll from the forked hennin and the conical support is left (fig. 20). Fig. 21 shows a version of hennin called the butterfly hennin, and is clearly a take on the butterfly version of the horn & veil headdress. The is no singular look to the hennin; no specific covering and no definitive veil, but there are a few elements that carry through most of the styles. The first is the small forehead loop, first seen on the heart-shaped headdress. There are many theories about the purpose of this loop, but almost everyone agrees that it is related to stability. The weight of the hennin is transferred to the forehead through the loop, reducing the chances that the hat will fall off the back. One theory is that the loop is actually attached to a hidden headband, and that the hennin has a corresponding “slit” that slide over the loop, locking it in place. Another theory is that the loop’s ends extend all the way up the hennin like a piece of rebar. Even a short loop bent over the curve of the forehead goes a long way to keeping the hennin in place.

In general there are three styles of hennin: truncated, conical (also called steeple) and butterfly. There are also three ways that the truncated and conical styles can be worn: with a veil, with a lappet (also called a frontlet or brim) and with both a lappet and veil. Butterfly hennins are always worn with a veil, otherwise they would be conical. Truncated hennins appear in period images around 1460 (fig. 18), as do butterfly hennins (fig. 21). Hennins sporting lappets appear in images around 1478 (fig. 22). Lappets are the popular hennin accessory until the end of the century, and evolve into the French hood at the start of the 16th Century (fig. 23). The lappet is generally considered to be made of velvet and almost always appears as black in the period images.

The Hennin When children think of medieval times, it is a woman wearing a hennin that they typically think of. In modern times, we think of this headdress as a tall cone hat paired with a veil, but the reality is that this hat had many, more popular versions in period. Short or tall, veil or no, are all part of the hennin family. This type of headdress, in all its varied forms, will certainly garner some glances, but wearing it correctly doesn’t have to be a cumbersome task.

fig. 18 fig. 19 fig. 20 fig. 21

fig. 22

fig. 23


Of the many styles of hennin, only the conical style comes close to the modern idea, and even in that case, there are few examples of the hennin coming to a complete point (fig. 21). It is perhaps the ease of creating a cone that brought about the modern ideal, but for the most part, hennins are flattened at their very tip. Many are also open to allow a veil to pass through. Also, there are a few examples of the hennin having a support other than the loop. The “beehive” style hennin, which is a truncated hennin, sports ear loops (fig. 25). Fig. 26, also a truncated hennin, has a chin strap. The hennin, regardless of style, is worn over the crown of the head and angled back. When the hennin is depicted nearly upright, it seems odd and not flattering (fig. 27).

Hair is concealed in all styles. There are a few well painted examples (fig. 18) that show the hair at the base of a hennin, but in these cases, the hair is thin and well slicked back. Some hennins are worn so far back with no hair in sight, it’s easy to suspect that the woman is completely bald (fig. 19). The popularity of the lappet worn with hennins may be both secular and religious in nature. Today, the lappet is seen on the ceremonial headdress of holy officials, such as the Pope. In medieval times, the wearing of a lappet might have had a similar meaning– religious virtue. On the secular side, however, the lappet was worn by some of the periods celebrity nobility, such as Mary of Burgundy (fig. 28). Just as celebrities in today’s culture set trends, well-liked nobility could have the same effect.

fig. 24

fig. 26

fig. 27

fig. 25

fig. 28

The Burgundian In the changing styles of the 15th Century, the high necked houppeland evolves into a V-necked gown known as the Burgundian. Unlike the houppeland that made use a several yards of fabric, the Burgundian is fitted closer to the waist and tighter to the arms. Length is extended in the train, however. The collar and cuffs of the gown are often fur, and the belt is still wide, if not wider. At the opening of the V, the under dress shows, or at the very least a placket, usually of a different color than the gown. As the century rolls on, the neckline widens until it eventually disappears altogether when the style changes to what will later be known at the Tudor style. The Burgundian is the popular dress of choice for the entire second half of the century, and is the appropriate gown to wear with the hennin.


Constructing a Hennin (Modern Techniques) Essentially, the hennin is a covered cone shape, which is easy to create with some posterboard, as anyone who’s ever worn a dunce cap can tell you. To get the look of a 15th Century hennin, however, requires a bit more. I chose to create a 12 inch high hennin with a lappet. You will need: ♦ Black velvet (I used black fleece, which is less expensive but produces a similar result.) ♦ A sheet of plastic canvas at least 24 x 12 inches ♦ Fabric to cover the hennin ♦ Thread (match color to your fabric) ♦ Wire to create loop ♦ Pins (at least 2) Step one: Measure your head. Using either a tape measure or some ribbon, measure the circumference of your head in the approximate location you would like the hennin to sit. You will need this measurement for the lappet. Also measure, from the center of your head down, how long you would like the lappet to hang. I chose just past my shoulders. Determine how wide you would ike your lappet to be– a wide lappet will conceal more of the hennin. I choose a width of about 3”. Determine as well the height you wish the hennin to be. A 5” high hennin can add considerable height for first-timers. It is a good idea to start short to get used to the idea of having a taller head. Step two: Assemble the Hennin

Roll the plastic canvas onto a cone shape, fitting it to your head. You may need an extra hand with this, as the canvas will want to slid and unroll. Do not worry about the top at this point– you really just need to get the bottom to be the right size to fit over the crown of your head. Once you have the bottom sized right secure it with a clothes pin or stitch it together. Then adjust the top as need to get an aesthetically pleasing taper. Find the center of the overlap in the canvas and stitch up the cone. Trim off the excess at least on the outside. Then trim the top and bottom. The top and bottom should be parallel to each other as well as perpendicular to the angle you wish to wear the hennin, so you will not be able to use the natural grid of the plastic canvas for your cuts (img. A). Measure the circumference of the base of the hennin frame and add about a .5”. This is “A”. Measure the height and add at least 4”. This is “B”. Cut a piece of fabric A wide and B tall. With the right side of the fabric up, place the hennin form in the center of the fabric so that it is parallel with the B length. You will be able to see the angle of the hennin on the opposite side of the form. Wrap the fabric, matching up the edges and pin together as close to the hennin form as you can, leaving the extra fabric as a loose flap. When you remove the hennin form and lay the fabric flat, you will have a rectangle with an angled line of pins. The space between the pins and

fold should be fairly close you the size and taper of the hennin form. Sew along the pins, but leave the top and bottom unsewn, as these will need to fold into the hennin form. Cut off the extra flap and turn the fabric right-side out. Fit the cone of fabric over the hennin form and fold the top and bottom in. Stitch around the bottom (and top if needed) to secure the fabric in place (img. B). Step three: Create the Lappet Lay out your black fabric so that the fold is perpendicular to the salvage edge. From the fold down the length of the salvage measure the length you chose as the length of your lappet, adding at least a .25” for seam allowance at the bottom. Place a pin at the length to cut in a moment. Take your desired lappet width and multiply by 3, then add at least a .25”. This is how wide you will cut the fabric. Cut the rectangle out (leaving the fold intact).

img. A

img. B


On the cut length opposite the salvage edge, measure from the fold half the circumference of your head, and add 1”. Cut in the width of the lappet (x1, not x3), and down the rest of the length to remove. This is the portion of the lappet that will wrap around your head. I also cut a short notch out to accommodate the outward curve of my head (img. D) Open the fabric up and fold the salvage edge in 1 time the width. Pin the two layers along the edges of the lappet flaps, leaving the area where the head wrap is unpinned. Also pin the hems of the head wrap to finish them. You will want the hems folded in the direction of the side the opening in the lappet flaps is, as you will be turning the flaps right-side out, which will put the opening on the opposite side. In the end, you want this opening to be concealed when you fold the lappet back over the hennin. Step four: Add the Loop Cut a length of wire equal to the width of the lappet plus 1” times 2. Bend in half , but leave the bent end in a loop, not a sharp angle. Cut a thin strip of black fabric and wrap the wire. Place the wire in the center of the head wrap section of the lappet so that the extra 1” hangs out. Stich into place. Step five: Put the Pieces Together Centering it on your head, pin the lappet closed around your head (the pin should sit somewhere near the nape of your

neck) (img E). Keep the lappet unfolded (img. F). Place the hennin so that it covers the head wrap of the lappet and pin through the hennin into the lappet in the front center, close to the base of the hennin. Fold the lappet over the base of the hennin, creating the brim and concealing your pin. Adjust the loop to bend over your forehead, securing the hennin. If desired, attach a shear veil to the hennin before folding the lappet by draping the veil over the hennin and pinning together at the base in the back. Or pin the veil just inside the top of the hennin so that it hangs from the end– this will add considerable weight to the hennin, so pay attention to pull on the loop. If you suspect that the weight is too much, tighten the lappet around your head as much as you can and pin the hennin to the lappet on the front sides as well as the front center.

Of Special Note: The hennin can add a lot of pressure to the head if it is too weighty. Pay attention to how your head feels as you wear it, and if you feel a headache coming on, remove the hennin promptly. Later, at home when your head feels better, try the hennin on again and determine if a longer or wider loop may be needed. If so, make the appropriate adjustment. If not, it may simply be a matter of getting used to wearing the hennin. Wear it at home 20 minutes at a time for a few days before your next event to acclimate to the weight.

Completed Headdress

img. D img. E img. F


Mary Magdalen is most often depicted in the 15th Century wearing the typical headdress of the lower class– the turban (fig. 29). The Magdalen, who embodied the medieval “every-woman” in secular contexts, typifies in most of her images what the lower classes aspired to be– loving, pious and as close to the height of fashion as her meager income could afford. In fact, by the time the 1400’s came around, there was enough wealth in Western Europe that even the poorest woman could afford to have at least one garment of good quality. Everyone was able to dress well enough for their station. For painters in the 15th Century, this meant that Mary would most likely wear a nice gown, but still cover her head with the simple turban. While in essence the turban is just a veil, the major distinction is that the turban is folded and/or wrapped in a manner beyond just placing a length of fabric over the head. In fact, the turban style was so complex in the nature of its folds and drapes, it is often depicted in period imagery in a manner that begs the question “how did that stay on like that?” It seems period painters focused more on establishing that the headdress consisted of folds and less on establishing exactly how it was worn (fig. 30).

During the Crusades in the previous centuries, several Middle Eastern influences came into Western European life, such as games and food. Clothing also was influenced. The turban, worn in the Middle East by men, provided a wonderful solution for the lower class when it came to dealing with their hair. Turbans were thought of as such a good idea that they were worn by both men and women. The basic turban is almost always white, probably linen, which would have been easy to come by for anyone. Occasionally, it is depicted with an additional turban placed over it that is a solid color (fig. 31). It can be worn half up or completely up, and can even be worn in a manner that mimics a wimple (fig. 32). Some versions can only be achieved with the assistance of pins, but for the most part, the turban look can be created with simple twists and knots (fig. 33).

The Turban Headdress While the previous four styles of headdress flourished among the upper classes, a decidedly different headdress was adopted by the lower and working class– the turban. Easy to wear in any weather, the turban was the go-to style for a day of hard labor, keeping hair off the face and soaking up sweat. The turban also did not require the plucking of hair– a luxury the working class could not afford the time to accomplish.

fig. 29

fig. 30

fig. 31 fig. 32 fig. 33


Constructing a Turban There really is nothing to creating the turban, and the possibilities are endless. You will need: ♦ A large piece of white fabric, light to medium weight. Linen and muslin both work well. The fabric will need to be

wide enough to completely cover your head and fairly long to achieve most of the period looks. If the fabric you have selected to use frays, hem the four edges. If the edges do not fray badly, it is OK to leave them unfinished.

Step one: Master the Basic Turban The basic turban can be created as follows. Once you master this method, begin making adjustments to see what other turban styles you can create. A. Place the fabric over your head centered. Do not leave more than a few inches in the front over your face. Bunch what extra is in front back to sit at your hairline. B. Take the two sides and tie them together at the base of your neck. Though not necessary, tuck all your hair up into the snood-like pocket the tie creates.

C. Take one end and twist it loosely while wrapping it around your head. Tuck the end securely into the twist to keep in place. D. Take the other end and do the same in the opposite direction. This is the basic turban.

Competed Basic Turban

A Variation on the Basic Turban

A B

C D


A Few Theories on Period Construction As with all things, time has conquered 15th Century headdress. There are no intact extant examples available today to tell us how these headdresses were constructed, which is why we rely so heavily on the available imagery. A handful of items that are believed to be remnants of headdresses have been found, but they offer only a little clarity to the issue. We must, therefore, rely on deduction and common sense to determine how these headdresses were manufactured. Given the variety in color seen in the images, the fabric used could be any of the various types of materials available- wool, silk and linen. Most likely the majority of headdresses were constructed with wool materials, which were abundant in Western Europe, where the wool trade flourished. Any wire used could be either steel or copper wire. One of the extant remnants found is a copper alloy wire frame. Padding could be any number of things including unspun wool, horse or other animal hair, tow linen, straw or fabric scraps, all of which are used in other padded period items. Veils would either be linen or silk. Opacity of the veil material diminished as the century progresses, making it likely that by the end of the century thin silk was the veil material of choice. Hennins could be constructed of a few possible materials. The one that seems most likely is woven reed which would create a sturdy by light-weight basket-esque frame. Other materials include heavily starched fabrics, leather and wire frames.

Dealing with Hair Short of trying to re-start the trend of plucking your hairline back, there is little you can do to match the high forehead style of the 15th Century. It is therefore important to keep your hairline in mind when creating headdresses. Simple modifications can be made to the placement and shape of headdress supportive pieces to ensure that most of your hair is concealed, even if not fully contained. Hair bands (such as the kind worn by sportswomen) and hair gel can both be employed to pull and slick back your hair. If your forehead is low, getting your hair as flat as possible is the best option. By ensuring that you have limited “fly-aways”, what is visible of your hair will be barely noticeable at best under your wonderful headdress.


Image References Fig. 1: Bust of Marie de France, Jean de Liege, 1327-41 Fig. 2: Detail, The Trinity Alterpiece: Margaret of Denmark, Hugo van der Goes, 1476 Fig. 3: Detail from King René of Anjou’s Tournament Book, Unkown, 1460 Fig 4: Devonshire Hunting Tapestry: Otter and Swan hunt, Unknown, before 1430 Fig 5: Detail, Devonshire Hunting Tapestry: Otter and Swan Hunt Fig. 6: Detail, Devonshire Hunting Tapestry: Falconry Fig. 7: Detail, Christine de Pizan presenting her book to Queen Isabeau of France, Mast of the Bedford trend, 1410. Fig. 8: Detail, Wedding of Arthur & Gunivere, Guillaume Vreland, 1468 Fig. 9: Detail from King René of Anjou’s Tournament Book, Unknown, 1460 Fig. 10: Portrait of a Woman, Robert Campin, c. 1435 Fig. 11: Image source unknown, but similar types of headdress are found in the many depictions of Christine de Pizan, such as fig. 7. Fig. 12: Lady Wearing a Gauze Headdress, Rogier van der Weyden, c. 1435 Fig. 13: Detail, The Exhumation of Saint Hubert, Rogier van der Weyden, 1436-39 Fig. 14: Detail, The Triptych of the Crucifixion, Rogier van der Weyden, 1443-45 Fig. 15: Detail, Saint John Alterpiece, Rogier van der Weyden, 1453-55 Fig. 16: Detail, The Marriage of Arnolfini, Jan van Eyck, 1434 Fig. 17: Portrait of Barbara van Eyck, Jan van Eyck, 1439 Fig. 18: Portrait of a Lady, Rogier van der Weyden, c. 1460 Fig. 19: Detail, Diptych of the Moreel family, Hans Memling, 1484 Fig 20: Detail from Renaud de Montauban, David Aubert, 1462 Fig. 21: Detail from King René of Anjou’s Tournament Book, Unknown, 1460 Fig. 22: Detail, Portinari Triptych (detail of Mary Portinary), Hugo van der Goes, 1479 Fig. 23: Detail from Le livre des cleres et nobles femmes, Giovanni Boccaccio, c. 1490 Fig. 24: From a 15th Century version of Le roman de la Violette, Unknown Fig. 25: Detail, Portrait of a Female Donor, Petrus Christus, 1450 Fig. 26: Portrait of a Young Girl, Petrus Christus, after 1460 Fig. 27: Detail from Augustine, La Cité de Dieu, maître François, 1475-1480 Fig. 28: Mary of Burgundy, Michael Pacher, 1490 Fig. 29: The Magdalen Reading, Rogier van der Weyden, c. 1438 Fig. 30: Detail, The Deposition, Rogier van der Weyden, 1432-35 Fig 31: Detail, Descent from the Cross, Rogier van der Weyden, 1430-35 Fig 32: Detail, Calvary Triptych, Hugo van der Goes, 1465-68 Fig 33: Detail, Deposition, Dieric Bouts, c. 1455

Additional References Below is a listing a some of the online web pages and articles I found helpful in compiling this class. http://www.uvm.edu/~hag/sca/15th/ Hope Greenberg: 15th cent. Dresses: a Portfolio of Images http://cadieux.mediumaevum.com/15thc-costuming.html The 15th Century (collection of articles) by Marie Chantal Cadieux—various pages within this site. http://www.virtue.to/articles/ Medieval Clothing Pages by Cynthia Virtue http://cleftlands.case.edu/hatskwcs1.pdf http://cleftlands.cwru.edu/forum/issue16.pdf Articles on 15th Century headdress by Marie and Grace Vibbert

hurst, janis - creating and wearing 15th century headdress

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