Mode Historique - Historical Costuming

What Kids Wore 1477-1577

I have noted, and I'm sure that this is nothing new to an SCA parent, that there is precious little on the subject of children's clothes in period literature and art. Modern costume books also tend to deal with this in abbreviated fashion. What is mostly, and often erroneously, stated is that the kids wore pretty much the same thing as their parents as soon as they started walking, just in smaller form. This is true to an extent, but there are some pretty neat and distinctive differences in kid's garb through the ages. The biggest plus is that children's' clothes tended to be much simpler in construction, regardless of the material used. There is some practicality to this: It was probably noted very early on that A) Children don't stay small forever and B) They're dirt magnates of the highest order. Clothing for children were by necessity simpler and less ornate. Why pour your money into clothing that won't survive the abuses of childhood and will subsequently be outgrown in a matter of months? It is very likely that a 16th century parent rationalized the same way, and unless they had gobs of money at their disposal, they probably wanted to invest in clothing for their offspring that was low-maintence.

Some small differences in child garb are mentioned variously through the course of the 16th century. In the upper classes mentions are made to the "ribbons of childhood"; long tippets that attached to the shoulders of the doublet or bodice that were used as leads by the parents to reign their children in. These showed up en masse in the 16th century and were widely used until the end of the 18th century. Another fact that most likely won't go over well with the boys of this day and age is that when the distinctions between male and female garb became more distinct in the 16th century, boys were dressed in long skirts and farthingales until they were about six, making them virtually indistinguishable from a girl. This, too, became commonplace until the late 19th century when "short pants" replaced the skirts for young boys.

From age six, onwards, children of wealth were dressed pretty much the same as their parents, save for the "ribbons of childhood" which were sometimes retained on girls' clothing, but seemed to disappear on boys' outfits once they graduated from their skirts to pants and hose.

Children of the lesser classes did not have these obvious distinctions, mainly due to the impracticality of long, stiff skirts and tight lacing on bodies that were expected to start working as soon as they could walk. Their clothes were no less important, however, and there are a few examples of middle class children dressed for practical reasons. Here, among the lower classes, there is less of a distinction between adult and child garb. Children's clothes tended to follow the prevailing fashion (though the lower the class, the more outdated the fashion), along much simpler lines.

In this article, we will look at children's clothing from 1477-1577 C.E. with a focus toward the upper classes. It is unfortunate that large bodies of pictorial evidence of the lower classes, much less of children, do not exist in great number.

KIDS CLOTHES: 1477-1577

In this picture, Lady Donne and her daughter are depicted wearing the latest in European fashion, Flemish dress. It is unlikely that either of them wore this type of costume back home in England, but the picture was painted during a diplomatic mission to Flanders for Edward IV. In this picture, there is little of the "children dressed like their parents, only on a smaller scale" mentality. Mother and daughter are dressed quite differently, indicating that children didn't always emulate their elders in terms of fashion. Lady Donne wears an ermine lined deep wine colored gown with the wide belt placed just under the breasts. A black velvet stomacher fills in the wide "V" of over grown. In contrast, her daughter wears a gown made from the same fabric as her mother's, yet the similarity ends there. The deep "V" front is laced across the body over a stomacher or under dress of crimson. Her sleeves are tight and cover half of the hands as was the prevailing fashion at the time. Her headdress is interesting: It has the same black velvet frontlet as her mother's, complete with the mysterious loop at the hair line (notice, the hairline has been shaved or plucked into the fashionable high forehead), yet she wears no hennin and her hair is allowed to fall free behind her shoulders.

Hans Memling, The Donne Triptych. c. 1478

Another interesting portrait from the same period is from the Triptych of The Portinari Family depicting the daughter of Tommaso Portinari. It is painted in the Flemish style and depicts a young girl wearing an almost identical dress to the Donne portrait. Like the Donne portrait, the young girl is wearing a gown with a deep "V" that extends down to the base of her abdomen. It is laced across the front over a stomacher or kirtle of black but is more heavily embellished than the Donne counterpart. The girl also wears a similar style of headdress that only covers the top of the head, allowing the hair to fall freely down the back. In this case, it appears as though the hair may be pulled back into a ponytail.

Hugo Van Der Goes, Triptych of The Portinari Family. Detail. c. 1476 (Florence, Uffizi)

Holbein's young daughter is dressed so simply that the effect is very elegant and practical. She wears a tan kirtle most likely made from an inexpensive velvet or wool. For reenactment purposes, a heavy brushed cotton, or corduroy is a perfectly acceptable substitute. The kirtle is made on an attached bodice and skirt plan, rapidly becoming unfashionable among the courts of Europe, yet is retained among the lower classes. It fastens down the breast with what appears to be hooks and eyes, and is open from the base of the attached bodice (most likely under the rib cage) to the hem. A short sleeved linen or lawn chemise is worn underneath. The little girl's hair is dressed in a thin braid that winds up one side of the head and looks as though it is attached over the crown of the head by a ribbon. This mode of attire is probably the easiest and least money consuming for a young girl up to the age of 13. A shortened version might be acceptable for a young boy from the ages of a few months to around four years. Anything past that, and he will usually want to dress like Daddy.

Hans Holbein The Younger, The Painter's Wife & Two Children. 1528-1529 (Öffentliche Kunstsammlung, Basel)

Painted about ten years after the above portrait, this picture shows the current fashion for young boys of wealth. Edward wears what is most likely a long gown, though for reenactment purposes, I'd suggest cropping the skirt at the knee... The kid will have enough mental anguish trying to work out wearing tights beneath the doublet as it is (I'm joking here). The doublet is made from a crimson velvet, piped with gold. Around his middle is tied a scarf or ribbon of matching color that was either purely decorative or served as a lead. The doublet has lavish split sleeves that allow the arms dressed in the false under sleeve to come through. Aglets at the top of the under sleeve most likely tie it into the doublet at the shoulder. The under sleeves are of cloth-of-gold, worked with an oddly abstract design for the time. A chemise of silk or fine lawn is visible as it ties around the neck and at the wrists. Upon his head, Edward wears the fashionable bonnet of matching fabric, studded with aglets and jewels and ornamented with a white ostrich feather. It is worn over a close fitting cap of cloth-of-gold which is worn over a second cap of white. Around his neck is a collar of gold and precious stones. In his left hand, he holds a gold rattle.

Hans Holbein The Younger, Edward VI As A Child. 1539 (National Gallery of Art, Washington)

The boy in this portrait is dressed very much in the current fashion for men. He wears a low-waisted satin doublet, pinked with large slashes. His breeches are slashed in the same manner and are complete with a codpiece! The small frills of the undershirt are evident at the neck and wrists. He wears a black, fur-lined gown with sleeves over the doublet trimmed in rich embroidery along all the edges. The sleeves are most likely made from the pattern given here and are open down the front and caught at regular intervals with small triangular jewels. He wears matching stockings and low-slippers. On his head he wears a bonnet with a pleated crown and narrow brim, decorated with jewels and an ostrich feather.

Florentine School, Unknown Boy. c.1545-1550 (National Gallery, London)

The two sisters in this portrait are dressed almost identically in brown silk stripped in gold. Only subtle differences exist between the two garments, such as the treatment of the sleeves and their chemises. Their brother, holding the family dog, is dressed in a somber black doublet with a "skirt" that falls just about to mid thigh, splitting in front to reveal white brocade breeches, complete with a codpiece. Around his neck is a simple falling ruff of white lawn. He wears no headdress, and his hair is cropped close. The girls wear simple jeweled bands across their heads and their hair is arraigned up. Both have what appears to be coral necklaces and jeweled carcanets about their necks.

Sofanisba Anguissola, Portrait of the Artist's Sisters and Brothers, c.1555, (Corsham Court,Wilshire, England)

1. 2.

3. 4.

The four pictures above are details from various paintings by Peiter Brueghel, The Elder. They show virtually the same type of dress for (presumably) young Flemish girls of the lower classes. The outfits seem to universally consist of a long-sleeved kirtle worn with ample skirts and a rectangular apron. Headdresses vary from linen coifs and veils to flat caps. In the case of the first picture in this series, the children are make-believing with blankets thrown over their heads.

Pieter Brueghel, The Elder 1. & 2. Children's Games, Details; 3. Peasant Dance, Detail; 4. Peasant Wedding, Detail. All c. 1560

This picture shows the contrast between the clothes of the elder Henry (age 17) and his younger brother Charles, age 6. It is interesting to note that Charles has not yet been "breeched", though most likely it would have happened shortly after this portrait was painted. Henry, the future consort of Mary, Queen of Scots is shown dressed in a reserved, yet borderline foppish outfit. His doublet fits very close, with a severely high collar and moderate ruff. The doublet has a deep epaulet around the waist which splits in front to accommodate a codpiece. His breeches are of the typical "pumpkin" shape that was becoming fashionable at this time, and he wears matching stockings and low slippers.

Charles, on the other hand, is dressed in a moderately comfortable style for young boys, his doublet not quite as severely shaped as his brother's. It is difficult to tell from the quality of photo, but his skirt is floor length and appears to open down the front. He wears a light colored ribbon around his waist and his ruffs are probably gray.

Hans Eworth, Henry Stuart, Lord Darnley & Charles Sturart, Earl of Lennox. 1563

The son of Henry Stuart and Mary, Queen of Scots is dressed fashionably for a boy of 8 years. He wears the popular "venetians", breeches that fastened below the knee and came in a myriad of popular styles, from slim fitting to the voluminous ones depicted here. His doublet is something of a "peascod" shape, the tiny pot belly that swells out is a precursor to the absurdly shaped peascod doublets fashionable by the time he took the throne of England. The doublet is fastened down the front with three buttons under the chin and most likely kept closed by hidden hooks & eyes the rest of the way down. The armholes of the doublet are set wide on the shoulders and sleeves, quilted to make a ribbed effect, are set into them. The ruff is becoming more prominent around the neck and wrists.

Rowland Lockey, attr. James VI. 1574 (National Portrait Gallery, London)

These three siblings, painted holding their favorite pets, a finch and a guinea pig, are dressed according to fashionable standards for the time. Both boys wear identical outfits, their doublets slashed and pinked regularly and with falling ruffs embroidered with black work. Their sister wears an intricate and uncomfortable velvet gown with a high necked bodice and matching skirt. She wears the cartwheel ruff about her neck which had to have been very restricting upon such a small body. More than likely, a fully boned corset was worn beneath the bodice.

Unkown Artist, Three Children. 1575-1580 (Private Collection)

The orphaned daughter of Charles Stuart (depicted above). This picture, painted for her grandmother, Bess of Hardwick, shows the 23 month old child dressed in a remarkably adult manner. Her dress mimics that of a wealthy young woman, which even at such a young age, Arabella was. The closest legitimate living relative to the 12 year old King of Scotland, Arabella had a lot going for her already. She wears a bodice with matching sleeves, embroidered with gold thread. Two rows of tabs cover the armscye where the sleeves undoubtedly were attached by means of ribbons, or "points". Around her neck appears to be a falling ruff. Her skirt is placed at her natural waist and has a band of gold embroidery down the front. Her head dress mimics the atifett favored by her aunt, Mary, Queen of Scots and is decorated with sumptuous jewels. Her bright red hair is combed over a padded roll as was the fashion. Across her bodice is slung three rows of gold chains and around her wrists are small gold bracelets. In her hand she holds a fashion doll, dressed in the style of some ten years earlier. Her bodice would have either been heavily lined with buckram or some other stiff material, or a corselet might have been worn beneath the bodice to give it shape. Definitely a style that would be flattering to all ages.

Unknown Artist, Lady Arabella Stuart, 1577 (National Trust, Hardwick Hall)

Suggestions For Making The Most Of Children's Garb:

There are a few things to bear in mind when sewing for a child. We are all probably aware of how hard kids are on their clothing, so it's important to make their costumes sturdy, not just easily disposable. It's far better to invest some time in making an outfit that will wear through at least a few seasons of use, rather than one that will have to be replaced at the end of the summer. Here are some of my suggestions:

1. Start with a sturdy fabric. Make sure it's machine washable.

2. Pick neutral colors, such as earth tones or muted tones that will not advertise dirt.

3. When sewing the outfit, leave at least a couple of inches of seam allowance in all the seams, so that the outfit can be let out as the child grows. Nothing is more frustrating that having your kid hit a growth spurt the day after you made him expensive court garb. Good places to always have ample seam allowances are side, back and front seams in a bodice or doublet and in skirt hems and pants cuffs. A decorative way to leave growth room is by adding large tucks into the skirt that can be let out as needed. Often, a child grows "up" before she grows "out".

4. Put elastic in anything that would otherwise be tied closed. Pants cuffs and waistbands, skirt waistbands, and shirt cuffs are all no brainers.

5. Limit the number of "fussy" items on a child's outfit, such as buttons, lacing, and embellishment. Or at least be prepared to sew them back on when they fall off...

6. Leave the nice court garb at home for everyday events, or camping events. A child may like playing "dress-up" in his velvet Elizabethans, but the garb is probably not made to withstand everyday play. Make sure the child understands that certain costumes are for special occasions only, just like her mundane "Sunday Best".

7. Let the child get as dirty as possible and relax, knowing you've invested in garb that not only looks good on your kid, but will stand up to the most rigorous play. Make a game out of it. Have the child "crash test" his outfit to see if it stands up to his standards of hard play.

Closing Remarks:

It's not too difficult to discern the wide range of styles in clothing that were available to children deign the 16th century. Their costume does indeed often resemble that of their adult counterparts, but it should be viewed with a practical eye towards simplification and comfort. It is rare that a modern child will enjoy wearing a tight garment that restricts her movement, or that a young boy will want to wear a long skirt. Unless there are serious constraints placed upon your choice of costume, making a comfortable garment for your child that is beyond a T-Tunic or Viking-style apron (no offense to those with early period personas) is possible. The aim of this article is to demonstrate to those with late-period personas that children's costume during the last 100 years of the scope of the SCA is simple, affordable and practical.

Bibliography:

Arnold, Janet. Queen Elizabeth's Wardrobe Unlock'd. Leeds, United Kingdom: W.S. Maney & Sons, Ltd., 1988

Ashelford, Jane. A Visual History of Costume: The Sixteenth Century. New York: Drama Book Publishers, 1986

Genaille, Robert. Flemish Painting From Van Eyck To Brueghel. New York: Universe Books, Inc., 1954

Kay, Marguerite. The Colour Library of Art: Bruegel. London: The Hamlyn Publishing Group, Ltd., 1971

Venturi, Lionello. From Leonardo To El Greco. Switzerland: Editions d'Art Albert Skira, 1956