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So, I’m still deep in the world of medieval paper dolls, specifically the 1100s and 1200s. The 1300s dolls haven’t even made it to the sketchpad yet, so for now, I’m sticking with what’s drawn and researched.
In the meantime, let’s talk about a fascinating 12th-century garment: the bliaut. (Can I admit I’m still not totally sure how to pronounce that word?) It’s that wide-sleeved gown that most people associate with medieval ladies. A gown with long, dramatic, and richly draped sleeves. While it’s iconic in pop culture (and the Victorians loved painting it), there’s actually a lot of debate about it.
The bliaut was worn by both men and women, often layered over a kirtle (under dress) or under a cloak. Its length varied by region. In France, they were long and flowing, while in Germany, illustrations often show a shorter bliaut over a longer underdress. These variations hint at distinct regional styles across medieval Europe.
Inspiration for Today’s Paper Doll
Okay, so I looked at a lot of pictures and a lot of statues and I read a bit. Here’s what I understand: The bliaut is the subject of a lot of debate, as I mentioned above. Statues of the time show a very wrinkled, almost pleated fabric effect (like this), but illustrations by and large don’t. When they do show horizontal wrinkles across the abdomen they tend to be more subtle (like this). Additionally, smaller statuary (like this one) doesn’t show wrinkles across the abdomen.
So, what’s going on with the wrinkles?
Costume historians have a few theories:
- Cutting fabric on the bias and lacing it at the sides to create horizontal tension.
- Constructing a separate bodice and attaching it to the skirt.
- Complex pleating or gathering techniques that we no longer use or fully understand.
For my illustration, I chose a more subtle wrinkled look, aligning with the manuscript art. The extreme wrinkles seen in large French cathedral sculptures don’t appear as consistently in other sources, and I’m a librarian, so I decided to go with what I’m most comfortable with, manuscript illustration.
Specific Source Images: Cathedral of Notre-Dame de Chartres Statuary (see this picture) & Stuttgart WLB, cod. bibl. fol. 57, origin: Zwiefalten abbey circa 1125-1130, f. 55 as pictured here (retrieved 9/9/2019).
Learn and Explore More
- On the Blog: More Jewels & Gemstones paper dolls, more paper dolls from the Medieval era, Topaz with her 1100s underwear
- Around the Internet: Illumanu (a tumblr devoted to manuscript illustrations of clothing & dress), an interesting webpage with lots of pictures, and an interesting site with lots of pictures in German (I think?)
Final Thoughts on the Bliaut
While I don’t claim to have a definitive opinion on how bliauts were constructed, I do find the ongoing debate fascinating. The theory I find least plausible is the “separate bodice and skirt” construction. I’ve seen it floated online without solid citations, and it would require bodices to appear centuries earlier than we typically see them, then disappear again for 300 years. Not impossible — but definitely implausible.
Still, I’d love to hear from readers who’ve researched this more deeply! Feel free to share your thoughts in the comments. But kindly, please. I’ve received oddly intense and aggressive emails over medieval fashion debates, and I just don’t want to deal with that.
And if you need a paper doll with proper hair and undies for this era, grab Topaz in her 1100s underwear. The 1200s Lapis can also do in a pinch, if you’re more partial to redheads.
My personal theory on the wrinkles has always been about how cloth works. The girdle is essentially a belt and in my experience belts tend to make cloth ride up. That, combined with the midsection typically being the area that gets the most stretch (sitting, bending) created wrinkles that someone had the brilliant idea of calling fashion so she wouldnt have to keep pulling her dress down.
Not that that’s based on any real research, just my own experience of wearing bliaut for renfair.
That explains their presence when they are just hinted at in illustration, but it doesn’t explain how they appear in statuary where they seem to almost be knife tight pleats. It’s an interesting question that I have no good answer too.
http://athome.ebcoo.net/product/blue-rose/Not long ago, I bought a similar style dress in a magical shop. The price is cheap, but the seller is in China. What do you think? Can you give me some advice? Thank you.That explains their presence when they are just hinted at in illustration, but it doesn’t explain how they appear in statuary where they seem to almost be knife tight pleats. It’s an interesting question that I have no good answer too.