Elizabethan Accessories
HATS
All people in the 16th century wore some form of hat or head covering, almost at all times. These hats or coverings varied widely according to class, gender, age, and personal tastes.
The most ubiquitous Elizabethan hat was the coif, or "biggin" meaning the hat you wore at the beginning of your life. In their simplest form, they were plain linen caps, closely fitting to the head and covering most of the hair, with strings to tie under the chin. More elaborate coifs for women wewre shaped with a point on the forehead. They were often ornately decorated for the upper classes, sometimes being made of strips of bobbin lace sewn together to form fabric, or covered with embroidery, often blackwork embellished with gold threads and spangles and edged with gold lace.
The coif was often worn as an under cap for another hat, which might be pinned to it. A coif by itself was often worn by workmen and farmers to keep the hair out of the eyes. While they can be embellished, the ground fabric should be white linen, not colored fabrics.
The caul was worn by middle and upperclass women. It functioned as a hair net and was often made of netting, or of cloth decorated to resemble netting. For the upper classes, it could be highly decorated, even made of gold thread and jeweled. It should not be an open work net unless lined with fabric. It was small, not hanging down onto the shoulders, and worn on the back of the head, not pulled down in front like a shower cap. Except in very casual situations, such as in one’s home, it was worn as an under cap.
The attifet, is the heart shaped cap often associated with Mary. Queen of Scots. There is a costume myth that this is a widow’s cap, but that seems to be a much later idea, probably from the Victorian obsession with Mary.
They seem to have been worn by women of all classes.
There are no surviving attifets , so how they were constructed is a matter of conjecture.One school of thought is that the heart shaped edge was a separate, wire edged crescent shaped piece sewn to a cap similar to a caul. Howver, I recently tried starting with a pattern for a coif with a forehead point, and wiring the edge. the result was a simple attifet. They are often seen with a matching lace edged veil draped over the back, but can also be worn with a French hood.
The muffin cap or bag hat is a peasant version of the caul, mainly a large circle of cloth gathered into a band. For women, the band can be shaped with a point at the forehead and curving pieces around the face. Men wore them also, but only with the straight band.
Later, this style of hat became the standard for cooks, probably because they contain the hair so well, and are still worn by some highly trained chefs today. In fact, the modern "toque" hat worn by professional chefs is nothing more than a muffin cap, starched and shaped over a cylindrical form.
Muffin caps should be linen like fabric, most properly white but often seen in colors. As they are a peasant style, little or no trim is appropriate. Muffin caps are sometimes made in velvet or other fancy fabrics, and worn with upper class costume, but this incorrect.
The flat cap is the flat crowned, brimmed hat. It was worn by all ages and classes, male and female. It was usually worn over a biggin. Ladies sometimes wore a small version pinned to a biggin or coif. this was especially popular as a riding hat. It is best cut as an oval, not a circle, or the brim will ripple. the brim should be less than 3" wide. For upper classes, they can be trimmed around their edges and the crown seam with narrow braid. A narrow hat band of cord or ribbon can be worn, as can a jeweled band called a bilament. they are often seen with a single feather or a bunch of feathers, held by a badge or brooch, at one side.
The Toque is similar to a flat cap, but the crown is a circle pleated into the brim.
The Tall Hat is often associated with the prosperous merchant class, although it was also worn by nobles. It should taper toward the crown, not be straight sided like a top hat. the brim should be less than 3" at the maximum. While the seamed, fitted fabric covering on the crown is often seen, this is incorrect. It should be a single large piece of fabric, tightly draped over the frame and pleated into the brim. Trim is as for the flat cap. It was worn by men and women, usually over a coif, or, for women, a caul.
The French Hood style was brought to England by Anne Boleyn, after her time as a lady in waiting in the French court. In its simplest form it was a stiffened crescent, usually angling backward, with a veil (almost always black velvet) hanging from its upper edge. Usually there was a tiny pleated ruffle of gold fabric around the inner edge. Later, it lost the ruffle and was mounted on a shaped band similar to that of the muffin cap, or, occasionally, on an attifet. For nobles, it was trimmed along the upper and lower edges of the crescent with jeweler’s work called upper and lower bilaments. It was a very flattering and popular style, and stayed in fashion into the 70’s. It was still worn by older or conservative ladies late in the century.. It was worn by upperclass and noble women. The shaped brim style can be difficult for singers as it covers the ears.
The Pillbox Similar to the pillbox hats of the 60’s, but larger, covering the entire back of the head. Often with a long veil draped over and hanging down back. It can be difficult to wear unless the hair is long enough to make a bun to which to pin it.
The Solano, or sun hat, was a wide brimmed, flat crowned straw hat worn for sun protection. Excellent ones can be found in craft stores and Chinatowns. Can be worn over a coif, caul, or muffin hat. Trimmed only slightly, ribbon band, field bird’s feather, corn dolly, etc. Ladies sometimes wore it with a very large veil draped overall. Do not use synthetic fabric, as it traps the heat in.
BELTS
Peasant and lower class men and women usually wore sturdy leather or cloth belts. They were not worn to hold anything up, but as a tool belt, to hang things from.
Often the tongue of the belt was quite long, and hung down in front for as much two feet, depending on the size of the wearer. Most "belt blanks" you buy from leather stores are long enough to do this, as they are cut from the full length of the hide. The excess belt was knotted around itself to make it hang down at a good angle. Women often wore the belt loose enough to sit on the hips and hang down in front below the bodice point. Men usually wore it around the waist.
Belt buckles should be plain, forged iron, or cast brass. D or ring shaped buckles are best, not much wider than the belt width. A ring buckle should be a real buckle with a tongue, not just a metal ring with the belt knotted around it. Leather can be dyed brown or black, but not in colors. Some carving or tooling is acceptable, but stay away from elaborate stampwork, obvious Western patterns, and Celtic interlace unless your character is Irish or Scottish.
Knives, pouches, tools, etc., can be hung from belts. When punching the holes for the buckle, I like tocontinue them the entire length of the belt. This gives convenient holes to which thongs can be tied to keep things from slipping around. It’s also a very handy thing to have around when you need to cinch something large, such as, say, a rolled up mattress.
Noblemen wore narrow leather belts, often elaborately tooled and gilded, with additional straps and hangers to support swords.
Middle class women might wear narrow leather belts with some decoration. Noblewomen wore jeweled girdles, or sometimes a soft fabric sash. their belts were worn at the waistline of the bodice, following the point in front. A cord or narrow belt may also be worn under the bodice skirting, from which to suspend a fan or other necessity.
Note: If you are going to an event of the Society for Creative Anachronism, do not wear a white belt. they are reserved within the Society for those who have earned the honor of knighthood. In some areas, red belts and green ones are also considered to be reserved.
Despite what you will see at Renaissance Faires, chain maile is not a belt material, nor were middle Easter dance belts made of coins, bells, or chains worn.
POUCHES
As Elizabethan clothing didn’t have many pockets, people carried their money and other small essentials in pouches, which were also known as purses. Pouches could be hung from the belt, carried in a pockets, or, for ladies, worn under the skirts and accessed through an opening in the skirt seam.
One popular style of pouch is a flat, purse shaped one with a flap front and a loop on the back through which to pass the belt Another popular style is the round topped pouch with a stiffened circular opening and a flat, hinged lid.
Simple rectangular or oblong drawstring purses are also worn, often hanging from the belt by their strings. This is the least desirable style, as they tend to swing around too much. In addition, the profession of cutpurse is alive and thriving at some Faires and other events, and these pouches make it far too easy.
Pouches can be leather or fabric, and decorated according to class. Coats of arms and initials were particularly popular.
BASKETS
Servants and lower to middle class women often carried baskets to do their marketing or carry bulky things such a s sewing projects, spinning, etc. Noblewomen wouldn’t have been caught dead carrying them, but our modern servant problem sometimes means they have to.
Baskets should be sturdy. Make sure the handle is very firmly attached. The best ones have a handle that continues down to the bottom of the basket. Hinged lids are good. Use a cloth to cover things, or make drawstring bags to cover your water bottle, camera, etc. Consider the size, as a really big basket is awkward in a crowd.
SHOES should be low heeled and sturdy. High heels were just being invented at this point, and only worn by highly fashionable ladies.
For peasants, simple styles such as laced up leather buskins, flat slippers, "Mary Jane" styles are best. Leather should be natural or brown, or black. Native American moccasins styles are not period.
Middle class to noble shoes often had a high vamp, similar to bedroom slippers or men’s formal pumps, or a fairly wide T-strap. They can also be a laced style, such as Capezio’s jazz oxfords. They were sometimes decorated with trims, embroidery, jewels, etc., or with large rosettes of ribbon. One still existing is made of thin white leather, pinked all over with such tiny holes that it looks like lace.
Some ladies wore a clog styled shoe called chopines, with very high "platforms" to keep them out of the mud. They were worn over other indoor shoes, and were sometimes made in matching sets.
Boots were worn by horsemen, and gentlemen with a military bent. They had moderate heels, rounded toes, and were mid-thigh length, with a flared cuff that could be worn turned down over the knee. they should be worn with slops, not Venetian breeches. They are extremely expensive, around $400 a pair to start. They are also unnecessary, as the vast majority of pictures show men wearing slipper like shoes, even those who are riding. They do look grand, though.
STOCKINGS AND GARTERS
Stockings were either sewn bias cut cloth, or knitted. One pair of existing women’s stockings has tasseled cords at the top which were probably sewn on garters.
Garters were usually long strips of cloth or knitting (hence, "garter stitch") that were wrapped around the knee and tied or buckled.
Stockings were usually solid colors, but some were striped. A good modern substitute is heavy cotton tights. You may wish to open the crotch seam for convenience, or women can cut them off at mid-thigh and wear them with garters. Do not wear flesh color stockings or sheers.
PARTLETS
As we discussed in the underpinnings section, the word "partlet" is often used to mean a high necked shift, but this is incorrect. A partlet is actually a rectangular piece which fills in the square neckline of a low necked bodice .
They were most often sheer white linen and could be trimmed with lace insertion, blackwork embroidery, shirring, beads, jewels, etc., although there were also dark velvet ones lined in white, or possibly with a white one underneath, and colored ones. A plain linen partlet with a 1"ruff was typical for a lower middle class woman.
They usually had a high collar which could be cut in one with the garment, but as that leaves a wrinkle at the back of the neck. the seamed on straight collar is probably more typical. these collars sometimes had a ruff attached, and sometimes not. The collars may have been open along their upper edges, creating a pocket into which the ruff band could be tacked. The inside of the collar was often decorated as it showed when worn open, and the front opening was often lace edged.
A partlet should be cut as a rectangle several inches wider than your shoulders, and long enough to reach below your bustline, front and back. If you like the gathered neckline style, cut it even wider and longer, and make the neck hole several inches too big, then gather into the band.
In period they were held in place with pins, a decorative brooch at the bodice front neckline, and with ties under the arms. Some reenactors find it practical to make a casing in the front and back lower edges and run a continuous piece of elastic through it, leaving enough to pass around the sides.
They were most often worn tucked inside the bodice, but some pictures of lower class women show them tied or pinned outside the bodice.
RUFFS
Ruffs are the most distinctive item of Elizabethan apparel. They began in the early part of the 16th century, as small ruffles on the neck and wristbands of smocks and shirts, and by the end of the century they had become independent garments of incredible complexity, size, and cost.
Two technological advances led to this: the invention of lace making, and of starch.
At the beginning of Elizabeth’s reign, ruffs were small, generally no more than two inches in depth, and worn as a high, close collar. Later in the century they grew wider and flatter and spread open to a vast fan shaped collar, supported with a framework to stand up in the back.
If you look at costume books, you will find a number of theories as to how ruffs were made. One of the most commonly held is that they were cartridge pleated into a band. I don’t believe this is the case. I've never seen primary documentation, either an extant example or a painting, that supports the theory. There is an article Janet Arnold wrote some years ago that I've been told has some cartridge pleated ruffs, but I haven't seen it myself.
I believe that most ruffs were made by gathering fabric very tightly into a band, just as you'd make any ruffled edge collar. . Smaller stitches, under 1/4", would best replicate the look in the paintings. You get a lot of bulk at the inner edge, but it is the period look. Heavy laces were often mounted onto a 1" or narrower strip of fine fabric or thinner lace, in order provide an easier edge to gather. The regular "S" curved pleats were put in with starch and goffering irons (very similar to modern curling irons) after construction, and redone with each washing.
If you look at pictures of period ruffs, the inner neck edge is usually much thinner than the outer edge. If they were cartridge pleated, they would maintain the same height through their depth, but they don't. There is a distinct flare from the inner to the outer edge, often with a sharp curve about 2/3 of the way in, which is as far as the goffering iron and/or poking sticks could reach.
Look at pictures of Mary Queen of Scots, wearing that very wide but open at the front neck ruff. these give you a side and end view of the same ruff, and you can see that the ruff, which is as much as 3" or more "tall" is quite obviously tightly gathered into a band.
The usual fabrics for ruffs were linen and or lace, or linen with cut work embroidery. They needed to be heavily starched in order to hold their shapes. As the preparation of a period ruff can take more than one full day of labor, many people have worked out plans for other construction techniques and materials that result in ruffs hold their shape well, without needing to be remade.
To stiffen the edge of a ruff, you can use a zigzag stitch or a serger to attach 20 pound fishing line, which will help it form that "ribbon candy" edge. If you use the rolled hem setting, it will look reasonably close to a closely buttonhole stitched hem, or you can cover the stitching with lace or other trim, sewn to both sides. For a wider stiffened edge, horsehair braid is good. Look for it in the bridal sections of large fabric stores. The 2" width is good for wide, stiff ruffs, and if you really want to go to town, it’s available in up to 6" widths. It’s especially good for backing lace as it is an openwork mesh.
The ruff neck band should be around 1-1 1/2" wide, and half an inch longer than the neck measurement. It should be stiffened or interfaced to keep its shape.
High, closed ruffs were worn by slipping the neck band down inside the neck of the high smock or shirt, or by attaching them to a partlet. It’s possible that some shirts, smocks, and partlets had collars with openings along the top edge left open, so that the band of the ruff could be tacked between the two decorated layers of the collar, allowing the collar to be worn open with decoration showing on both sides.
Ruffs should be worn inside the doublet or shirt collar, not wrapped around the outside. They can be fastened with hooks and eyes or with ties, but hooks and eyes look neater. If the ruff is more than 2" deep, it will need to be pinned (or snapped!) closed on its outside edge, or it will gap. High ruffs are often worn with matching cuffs, made narrower (1" or so). A set of these is called a "suit of ruffs".
Small (under 3") open ruffs are usually attached to a standing collar on a partlet or shirt. Often the inside of the collar is decorated, because it shows when open. The collar may need to be boned at the center back to make it stiff enough. It works best to make 3 casings for narrow bones, covering them with lace or trim to match the decoration on the front of the partle, if the neck of the dress is low enough to show.
Very large standing ruffs are probably separate from the partlet, and pinned into place. They must be supported at the back. There are several ways to do this.
One is to wear a second ruff, at least 4" thick, under the standing ruff in back.
Another way is to use a "supportasse", or underpropper. these can be made of stiff cardboard (period!), or boned canvas, covered with the dress fabric and cut like a very wide, standing collar, sometimes shaped into scallops or a fancy pattern like a fleur de lis. Usually they are attached to long flat steels stays that slip into pockets sewn into the dress lining at the back of the neck band. there are usually two small eyelets at the center back neckline through which the supportasse is tied to the dress with points, and the front edges are pinned to the neckline.
The other style of supportasse is a large metal framework, made of wire soldered into a fancy filigree pattern, gilded or painted gold, sometimes with pearls or other jewels. they are attached in the same way as the fabric version.
GLOVES
Gloves were worn by the upper classes for formal occasions. They were made of soft leather, wrist length, and often decorated with embroidery or jewels. Black, browns, tans, and whites were common. Modern gloves can easily be decorated.
Gauntlet style gloves, with a deep flared cuff, were worn for fencing and hawking. Excellent ones can be purchased from fencing suppliers, and trim and jewels can be added as needed. Tandy Leather also sells a gauntlet pattern.
FLEA FURS
Flea furs, or zibellini (singular, zibelinno, Italian for decoy) were an accessory for the wealthy. They were small pelts of sable, fox, ermine, or other animals, cured and stuffed. The paws and the head, or perhaps just the snout, were replaced with ones made of gold set with jewels. They were worn over one shoulder or draped over a hip, attached to a belt or girdle. It was believed that fleas would be attracted to the fur and away from one's person.
KNIVES, SWORDS, DAGGERS, AND OTHER POINTY THINGS
Almost all peasants and lower middle class people carried knives on their persons. These were not for defense, they were for eating with. The idea of one’s host providing cutlery was just beginning to catch on, as was the concept of forks. Eating, for most people, was accomplished with a spoon and a knife, and one brought one’s own to the table.
Knives for peasant use should be single edged blades, similar to modern hunting knives. A knife is worn on a belt, in a protective sheath with secure fastening. It can be kept in a basket or pocket, but if the blade is over 4" long, you will be breaking the concealed weapons law in many places.
Daggers are defensive weapons, with double edged blades. They should be worn by men, in a belt sheath as for eating knives. they would be carried by men, very rarely by women. Middle class men might wear only the dagger, upper class men, nobles, and their menservants might carry them in combination with a sword (often as a matched set.)
All gentlemen carried swords, all the time. It was the mark of their station. The best sword style for the period is that known as the swept hilt rapier. It was worn on the left hip, if the gentleman was right handed, suspended from a belt by a leather hanger sometimes know as a "frog".
Replica swords suitable for costume accessories are available for $200 and up. Replica swords that are madewell enough for fencing are around twice that, and prices go up from there.
If a man is going to wear a sword, it would be advisable for him to take at least a few fencing lessons, so that he can learn how to stand and move while carrying a sword. Elizabethan noblemen started studying swordsmanship at the age of five, and often continued to practice all their lives. They moved with the grace of ballet dancers; in fact, ballet is based on the steps and positions of 16th century fencing instruction.
CUPS, TANKARDS, AND GOBLETS
There is a mistaken idea that people in the 16th century wore tankards or goblets hanging from their belts. This is actually another "ren faire-ism" that has become widespread, . It is, however, a practical idea to have a drinking vessel as part of your costume props, particularly if you are going to be outdoors in the heat, and to secure it to your person, as they are easily lost or misplaced.
The most practical material for a cup is metal, as it is unbreakable. The only metals that won’t make your drinks taste funny are gold and pewter. Gold, of course, was just as expensive then as now, and should be reserved for the wealthiest nobles. Also, much to my dismay, I have found that the color attracts bees and wasps.
For most people, pewter is the solution. Pewter is usually a rough gray color, but can also be highly polished. Sometimes,it has a "hammered" finish. Pewter tankards and goblet are widely available, at Ren Faires, in gift shops, and catalogs. You can also find them at thrift stores. The second hand ones sometimes have names or initials engraved on them. I have seen these disguised with a glued on leather patch with a coat of arms painted on it. Either tankard (beer stein) or goblet styles are available. Avoid the lurid fantasy goblets with dragons, wizards, etc., and the common 18th century colonial styled ones.
Antique pewter should not be used for drinking and foodstuffs, as it may have a high lead content. All pewter sold today is actually "Brittania Metal" which is a different alloy that doesn’t contain lead.
Horn and wood cups are appropriate for peasants. they are available from specialty craftsmen, or occasionally at import stores. All horn vessels should be sealed inside with a non toxic sealer. If you’re making your own or are not sure if yours is sealed, you can use a product called Enviro-tex to do the job. Ask for it at large craft stores.
Other appropriate drinking vessels are wineskins and drinking horns, both best for the lower orders. Most wineskins made today have a plastic inner bag for health reasons. .
Avoid the fancy, silver mounted and jeweled horns, as they are out of date by hundreds of years. By this time, anyone who could afford them would have a goblet instead.
FAVORS
The practice of giving favors is another "ren fairism", albeit a charming one. It was probably based, originally, on the medieval custom of a lady’s bestowing a token on the man she favored. It may also be based on the 16th century custom of handing out knots of ribbon or other trinkets as favors at weddings, a custom which has returned in the 20th century.
At Faires, the custom is that a person makes up or purchases a number of identical or similar favors, and distributes them to Faire friends and associates, who wear them pinned to their clothing. Knots of ribbon, beads, buttons, bits of chain mail, tassels, tiny baskets, cloth swatches, and even tiny leather whips have been seen. There is really no limit to what can be used.
At one time, the custom was to wear every favor one had ever been given. Needless to say, this led to a Christmas tree effect, and it has been frowned on. Many faire administrations encourage participants to wear no more than three at a time.
It is considered inappropriate to hand out favors indiscriminately to strangers, however, they may be bestowed upon those who have greatly pleased you, such as a musician whose performance you have enjoyed. (The author, having been a "pass the hat" musician, urges you to also reward performers with a bit of cash.)
