Under tunic of unbleached cotton
with long tight fitting sleeves.
Cyclas shaped like that of the
men but with an added train.
It was worn long in front. It was
made of heavy cotton with heraldic
coats of arms appliqued around
the bottom of the skirt.
Hair parted in center and divided
into two plaits, crossed in back of
neck and brought around sides of
head.
Head covering consists of
barbette, fillet and crespine.
Accessories were uncommon.
Cyclas usually worn ungirdled.
Jewelry consisted of brooches at
neckline of under tunic.
Shoes were of the turn-shoe style fastened
by lacings. They were beginning to
lengthen to a pointed toe.
Compared to the extravagance of the last century, costume at this time was much simpler. Louis IX,
King of France, influenced this simplicity in costume to some degree. He was a deeply religious man
who abhorred all worldliness and extravagance in dress. Sober magnificence, dignity of appearance
and richness of material was the standard. This simplicity of style remained the vogue through the reign of
Edward I.
The shape of tunic sleeves changed during this time. Where previous sleeve cuts were straight, or
else widened dramatically at the elbow or wrist, the Magyar sleeve was the opposite: the armhole and
upper arm were cut very wide, narrowing to the elbow and wrist.
Some influences from the East, mainly in a diversity and richness of material, reached Europe with the
Moorish invasion of Spain and southwestern France. However, the great and startling effect on fashion
occurred after the start of the Crusades. The Crusades, beginning in the twelfth century, had a great influence
on the lifestyles and clothing of people. Wood block printing of fabrics was adopted and buttons also arrived
from the East. This is also when the science of heraldry had its beginning. Crests and armorial bearings
appeared on many garments and became hereditary as family identification.
The chemise remains unchanged with its long sleeves and high neckline. The gown is floor length;
loose-fitting and is girdled at the waist. The neckline is similar to the chemise with a high, front opening.
The sleeves are long, tight.
The cyclas is actually an over dress or sleeveless surcoat. The armhole is fairly tight and the sides are
closed.
Hair was center parted and plaited. The braids could be wound around the head or gathered into a bun
in back. Women expressed their originality through their headdresses by wearing one or any combination
of the different parts of the headdress. The four parts of the headdress consisted of a barbette, a double
piece of linen in chin-strap shape which was fastened on top of the head; a coif or brimless hat with a rim of
generally 2 1/2" depth; a crespine, or network cap worn to contain the hair; and a veil, worn over the coif.
The barbette and coif were usually white. The crespine could be of any color.
Shoes consisted of a simple slipper that was usually highly ornamented. The shoe followed the shape of
the foot. Hose were gartered above the knee with fancy buckled garters.
Elaborate belts were worn on the under tunics. Jewelry was not very prevalent. A brooch would be used
to fasten the neck opening of the under tunic. Some crespines were made of gold cording with gems attached
at the intersections. Apparently no makeup was worn.
Typical colors used in clothing were olive-green, crimson, purple, red, gray, white, brown, yellow and blue.
Stripes and particolors were favored. Materials used in clothing were velvet, brocade, silk, wool, and linen.
Embroidery and decorative motifs consisted of birds, animals, floral and foliage designs, decorations of
crosses, crowns, and intricately woven patterns. Stripes and plaids were in vogue.
The chemise and under tunic are made the same as the directions given in the Celic-British section
so they will not be included here.
CYCLAS
The cyclas layout consists of a single layer of 60" by 4' long piece of cloth.
MEASUREMENTS
- _____A = height + 4"
- _____B = shoulder width + 1"
- _____C = top of shoulder to halfway between underarm and waist
- _____D = chest measurement + 8" divided by 4
- _____E = A - C
- _____1 - 2= main body
- _____3- 6 = side gores
- _____7 = neck facing
General Sewing Tips
- It is very important to pre-shrink all fabrics. Treat the fabric as you would after the garment
is complete.
- All seams are to have 1/2" seam allowances.
- Zigzag all edges to prevent raveling.
- Backstitch 1/4" at the beginning and end of each seam to keep seam from coming out.
- Pin pieces of fabric being sewn together before sewing to keep fabric from slipping and
edges together while sewing.
- Always put "right" sides of fabric together when sewing.
- Mark "wrong" sides of material if necessary with a chalk pencil or soap as pieces are
cut out.
The chemise and under tunic are made the same as the directions given in the Anglo-Saxon
section so they will not be included here.
CYCLAS
Step 1
Sew the front to the back at the shoulder.
Step 2
Zigzag the outside edges of the neck facing.
Pin the right side of the facing to the right
side of the tunic.
Step 3
Starting in the back, sew along the neck hole.
Step 4
Clip the seam allowance almost to the seam
around the curve of the neck to allow the
fabric to lie smoother after the facing is turned.
Step 5
Turn facing inside out and iron it down at
the neck. Then top stitch along the neckline 1/4"
from the edge. This keeps the facing from
turning back over as easily.
Step 6
Sew the gores to the front and back. Attach the
bias of the gore to the straight line of the Cyclas.
Step 7
Sew the sides together.
Step 8
If shoulders are significantly narrower than hips,
trim the shoulder edges to equal the shoulder width
measurement.
Step 9
Finish the armhole edges with binding.
Step 10
Hem the garment.
Step 1
Measure your head with a tape measure and add 1".
Step 2
Set the tape measure on its edge on a sheet of
buckram, so that it arcs from the selvedge of
the buckram to the cut side, straddling a corner.
Using a pencil, trace this line.
Step 3
Measure from the corner of the buckram to a
few points on the line to get an average
measurement. Use this radial measurement
to get an even circle-segment drawn on the
buckram.
Step 4
Decide how tall the fillet should be. A good
height is 2.5". Add this number to the radial
measurement, and again trace the curve onto
the buckram.
Step 5
Cut the buckram and join together at the short
edge to make the fillet.
Step 6
To cover the coif with pleated fabric, cut out a
strip of fabric twice your head measurement,
and twice as wide as the fillet is tall, plus seam
allowances. Iron this fabric into pleats before
applying to the fillet.
Step 7
Pin the pleats onto the middle of the fillet's band,
all the way around. Carefully fold the pleated
fabric over the top and bottom. The pleats may
expand or contract because of the angle of the fillet.
Pin securely, then baste the covering together
on the inside of the fillet.
BARBETTE
Step 1
Measure around your head as if wearing a kerchief.
Cut the fabric this length plus 3".
Step 2
Make the barbette at least 6" wide at each end and
taper in to 3" at the center. Make the 3" section
about 1 1/2" on each side of the center.
Step 3
Sew the barbette into a tube. Turn inside out, and
press with seam in the center of the wrong side.
Turn raw edges on ends to the inside and blind stitch
them closed.
Step 11
To wear, wrap the barbette from your chin to the top
of your head, and pin with a straight pin. This should
be snug because it will loosen during the day. Set the
coif on your head, making certain that it is horizontal.
Pin the coif to the barbette with two straight pins.
CRESPINE
One easy way to get a crespine is to use a crocheted hair net. A more authentic method
would be to make the hair net by netting.