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I love historical fashion, I love book history and I love research. So, my medieval paper dolls are a chance to both draw paper dolls and spend way too much time doing research. Best part- I always learn something new. As I finished this super long post about today’s 14th century paper doll, I realized it mighty be a little much for people, so if you don’t want info on braids, sources, and scandalous surcoats of 14th century women’s clothing, stop now and just enjoy the paper doll and her pretty dresses.
One thing I learned since my latest foray into14th century women’s clothing is that I was wrong about how hair worked. I’d always thought that the hair was parted and then braided into two braids. I wasn’t sure what happened after that, but I assumed the end of the hair was tucked behind the ear. I now realize that the braid was actually tucked up under the front of the hairline. This is really clear in some of the manuscript illustrations. Pearl’s hair here is based on this illustration from the  Bodleian Library’s MS. Bodl. 264: Romance of Alexander (fol. 181v). Over their hair, women wore veils or hoods (think like, just the hood part of a coat). There’s a lot of different styles of these that I’ve seen.
Looking away from hair for a moment, 14th century women’s clothing (aka 1300s) involved layers of dresses over a shift. There’s a lot of inconsistency in words used for clothing. I am going to use surcoat for the outer most dress and kirtle for the inner dress. The kirtle went over a shift and then a belt (called a girtle) was often worn over the kirtle. Here’s a paper doll example of that. Over top of all that, a surcoat could be worn for keeping warm or for being fashionable. Some surcoat’s had slits in the front, so women could get to purses hanging off their girtles. This was an early form of pockets. If you had the money, fur lined the surcoats for warmth and fashion. Cotehardie‘s were surcoats with buttons, as I understand it.
Starting with underwear, Pearl’s shift is based one illustrated in Roman de Giron le Courtois (fol. 87v.) at the National Library of France from around 1370-1380. Her shoes come from Stepping Through Time by Olaf Goubitz. Pearl’s dress on the right is a cotehardie (aka: button fronted surcoat) over a kirtle which was inspired by MS. Bodl. 264: Romance of Alexander (fol. 097v) and (fol. 181v) from between 1338-1344, plus this casket lid.
And now, a word about sideless surcoats… (aka: the gown on the right.)
Sideless surcoats are basically gowns with huge armholes. You can see examples in BGE Ms. fr. 190/1 Des cas des nobles hommes et femmes (Fol.35v) housed at the Bibliothèque de Genève from 1410 and this one in Besançon BM MS.677 Fleurs des chroniques from the Bibliothèque municipale de Besançon (fol. 087v) from 1384-1400. This French 14th century tomb slab shows the same style. If you poke around on my 14th century Pinterest board I’m sure you’ll see more.
This fur heavy version seems to mostly be ceremonial. De claris mulieribus in an anonymous French translation (Le livre de femmes nobles et renomées) Royal 16 GV (fol. 02) (my source) is from 1440, but was trying to show things that had happened in the 1300s. By the time the mid-1400s rolled around, only Queens on court occasions seem to be wearing these furry surcoats.
I find that a little ironic, because the sideless surcoat was sometimes called “windows to hell” or “windows to purgatory” when it first showed up. It showed off so much of a woman’s kirtle that it was scandalous by 14th century women’s clothing standards. It’s interesting evidence that extreme forms of fashion eventually become an accepted part of society, even some 600 years ago.
Lastly, our paper doll has veils and a hood. While I am not totally certain about the “rules” involving veils, they were definitely common and I think more common if the woman was married. Her double ruffled veil comes from Universitäts- und Landesbibliothek, Speculum Humanae Salvationis (fol. 37r). However, the large number of illustrations that show women with their hair exposed, so I don’t think it was verboten for women to have exposed hair in this era.
Her hood is based on BNF Français 20090 Bible Historiale de Jean de Berry (fol. 290r) which is from the National library of France. I’m not 100% clear on how hoods fit into the social structure of the 14th century. I can’t imagine wearing one with that fancy fur trimmed surcoat, but then I doubt fancy fur surcoats were worn outside much.
And this is the end of this super long, super involved post on 14th century women’s clothing. If you made it to the end, good for you! By the way, Topaz with 12th century clothing and Lapis with 13th century clothing have the same basic shift and therefore can easily share clothing with today’s 14th century clothing paper doll. It’s a 300 year medieval paper doll trifecta. Yes, I did plan it that way.
Once again, we are dabbling in the 1300s with today’s paper doll. There’s no new sources for this one, so if you want to know what I referenced, than I would recommend returning to 
Last week, we got to see my mid-1300s paper doll set in black and white. This week, here she is in color. Historical printable paper dolls always make me a little nervous. In inevitably, choices have to be made about what to include or not include and how to render a period’s fashion. These choices are easier the more you know about the period and harder the less you know. One of the reasons I often turn to 
Today’s printable paper doll is from the mid-1300s when set in sleeves came into existence and fashion was all about layers and hanging strips of fabric off sleeves called “tibbets.”