A loose tunic like garment commonly with buttons at the neck and cuffs bloused over a belt. Extending from below the waste to below the knee with long sleeves.
Description:
This garment, or variations of it can be seen in many paintings and illustrations that cross over several regions and time frames. People from many stations in society use this functional garment, from laborers to merchants and higher. Varying slightly from its beginnings before 1100CE and fading in fashion for all but laborers late in period.
In general it is slightly more tailored tunic with the neck hole held closed by use of buttons rather than the earlier broaches. Buttons may just close the neck hole, extend part way down the chest or to the bottom of the garment. The cut is usually full producing a baggy garment belted at the waste and bloused over the belt. Some assign the length of the garment to station, with average workmen wearing it shorter to the more wealthy merchants wearing a longer garment.
Likely worn with an undershirt and in some cases a simple doublet as well as hosen or trews.
Sometimes underrepresented in the SCA, cotes can easily produce a medieval look with an easily constructed garment.
This example has layers of cotes with a tight neck hole. Split for ease of movement below the waist. These are very tunic like cotes.
Inspiration Images
Common Materials
Fabrics:
Wool
linen
brocade
Ornamentation:
Effective Substitutions
Fabrics:
wool blends
linen blends
cottons
lighter weight upholstery fabrics that simulate period patterns
Ornamentation:
Ensemble Components
Cote
Under Tunic
possibly a doublet
pants or braes/hosen
Accessories
belt
pouch
hat
shoes
Source/Links
The Medieval Tailors Assistant, by Sarah Thursfield, has instructions on constructing such
A loose tunic like garment commonly with buttons at the neck and cuffs bloused over a belt. Extending from below the waste to below the knee with long sleeves.
Description:
This garment, or variations of it can be seen in many paintings and illustrations that cross over several regions and time frames. People from many stations in society use this functional garment, from laborers to merchants and higher. Varying slightly from its beginnings before 1100CE and fading in fashion for all but laborers late in period.
In general it is slightly more tailored tunic with the neck hole held closed by use of buttons rather than the earlier broaches. Buttons may just close the neck hole, extend part way down the chest or to the bottom of the garment. The cut is usually full producing a baggy garment belted at the waste and bloused over the belt. Some assign the length of the garment to station, with average workmen wearing it shorter to the more wealthy merchants wearing a longer garment.
Likely worn with an undershirt and in some cases a simple doublet as well as hosen or trews.
Sometimes underrepresented in the SCA, cotes can easily produce a medieval look with an easily constructed garment.
This example has layers of cotes with a tight neck hole. Split for ease of movement below the waist. These are very tunic like cotes.
Inspiration Images
Common Materials
Fabrics:
Wool
linen
brocade
Ornamentation:
Effective Substitutions
Fabrics:
wool blends
linen blends
cottons
lighter weight upholstery fabrics that simulate period patterns
Ornamentation:
Ensemble Components
Cote
Under Tunic
possibly a doublet
pants or braes/hosen
Accessories
belt
pouch
hat
shoes
Source/Links
The Medieval Tailors Assistant, by Sarah Thursfield, has instructions on constructing such
Outer layer garment with deeply cut arm holes worn with often form fitted undergarments that came in many variations and with examples for all sexes.
Description:
Sideless Surcotes are easily spotted by the deeply cut arm holes. They commonly expose a more fitted garment beneath such as kirtles or fitted cotes.
Parti-colored sideless surcote worn with a mantled hood.
These over dresses could vary from heraldic lesser modified cotes to heavily modified overdresses with narrow vertical front bands. Easily sewn and open for many variations and modifications. Used in many parts of Europe during the first part of the high middle ages
Variations can include constructed materials, fur trim, heraldic displays, variations of depth of armhole, width of plastron (front and back bands,) width of hem, style of fitted under dress.
Inspiration Images
Medieval Combat Society
Common Materials
Fabrics:
Salk
celvets
brocades
fine wools
extant examples found constructed from silk damasks and jacquard
Ornamentation:
Effective Substitutions
Fabrics:
Silks
velvets
brocades
fine to medium coarse wools
wool blends
linen and linen blends
substituting poly velvets for silk velvets, or cotton velveteen – Not stretch velvets or crushed velvets.
Ornamentation:
High quality fake furs for trimming and lining.
Ensemble Components
Sideless Surcote
Kirtle or cote
Underdress/undergarments
knee length hose
turn shoes or slippers
mantled hood
Accessories
belt
(worn under the surcote and over the fitted garment)
coif/hat/veil – works well with a barbette and fillet
Outer layer garment with deeply cut arm holes worn with often form fitted undergarments that came in many variations and with examples for all sexes.
Description:
Sideless Surcotes are easily spotted by the deeply cut arm holes. They commonly expose a more fitted garment beneath such as kirtles or fitted cotes.
Parti-colored sideless surcote worn with a mantled hood.
These over dresses could vary from heraldic lesser modified cotes to heavily modified overdresses with narrow vertical front bands. Easily sewn and open for many variations and modifications. Used in many parts of Europe during the first part of the high middle ages
Variations can include constructed materials, fur trim, heraldic displays, variations of depth of armhole, width of plastron (front and back bands,) width of hem, style of fitted under dress.
Inspiration Images
Common Materials
Fabrics:
Salk
celvets
brocades
fine wools
extant examples found constructed from silk damasks and jacquard
Ornamentation:
Effective Substitutions
Fabrics:
Silks
velvets
brocades
fine to medium coarse wools
wool blends
linen and linen blends
substituting poly velvets for silk velvets, or cotton velveteen – Not stretch velvets or crushed velvets.
Ornamentation:
High quality fake furs for trimming and lining.
Ensemble Components
Sideless Surcote
Kirtle or cote
Underdress/undergarments
knee length hose
turn shoes or slippers
mantled hood
Accessories
belt
(worn under the surcote and over the fitted garment)
coif/hat/veil – works well with a barbette and fillet
Long belted tunic with a belt of leather, cloth or rope. A scapula, the tabard like rectangle of cloth with a cowl or hood attached.
Description:
Generally unadorned, color of the fabric denotes particular religious order the wearer belongs to. The belt could be leather but some references say rope was more common.
Over time the colors of the different orders became nearly standardized. The Benedictine Monks would dye the wool they used to make their habits leading to names such as Black Monks or Blackfriar. The Cistercian Monks who arose in the 1100’s opted for undyed wool to show their adherence to poverty. This led to names like White monks or Grayfriars. There ae still many places across England with location names of Blackfriars and Grayfriars.
This attempt at a Franciscan habit wool blend for the long tunic and brown wool for the hooded mantle. Franciscan order arose shortly after the Cistercian order.
Any portrayal of religious personages at events should be done with respect to the beliefs of others.
Inspiration Images
Common Materials
Fabrics:
wool
Ornamentation:
Effective Substitutions
Fabrics:
linen
cotton
linen blends
wool blends
Ornamentation:
Ensemble Components
tunic
scapula hood
belt
Accessories
pouch
rosary
Source/Links
Version: 2
date: 3/5/2021
Source of Period Pic: Life of St. Bernard of Clairvaux by Jörg Breu the Elder 1500
Parti-colored surcote over long sleeved tunic displaying heraldic colors
Description:
A style used over a long range of areas and times. Generally starting in or before 1200’s CE and extending into the 1300’s as well as being similar to heraldic tabards and shifting into livery coats. This over layer could take the place of some warmth layers, be used as an over layer for work clothes but we often associate it with livery colors, where members of servants in a household are dressed in matching outer garments to show their association with their household. These could also be worn over armor for identification on the battlefield.
This example represents a simple parti-colored heraldic surcote, split for riding, displaying the Kingdom livery colors and badge. Layers under the surcote in this case are an undershirt, braies and hosen as well as turn shoes.
This example is made out of linen for use in hot weather.
A loose tunic dress like garment with a wide neck hole pulled over the head. Used in many parts of Europe for a wide range of the high meddle ages.
Description:
This garment, or variations of it can be seen in many paintings and illustrations that cross over several regions and time frames. People from many stations in society use this functional garment, from laborers to merchants and higher. Varying slightly from its beginnings before 1100CE and fading in fashion for all but laborers late in period.
In general it is slightly more tailored tunic with the neck hole held closed by use of buttons rather than the earlier broaches. Buttons may just close the neck hole. The cut is usually full producing a baggy garment belted at the waste. Worn with an underdress and sometimes a kirtle or other dress layer and possibly with a gown outer layer.
Sometimes underrepresented in the SCA, cotes can easily produce a medieval look with an easily constructed garment.
Red dress with embroidery along cuffs, neckline and hem line worn with a mantled hood. This was a dress constructed in the tunic like style similar to examples from 1100’s to 1200’s with slight bell sleeves. Worn over a tunic style underdress.
Inspiration Images
Common Materials
Fabrics:
wools, silks
Ornamentation:
Effective Substitutions
Fabrics:
wool blends
linen blends
cottons
lighter weight upholstery fabrics that simulate period patterns
Ornamentation:
Ensemble Components
Cote
underdress
veil
hood
coif
could be covered by a surcote
Accessories
belt
pouch
shoes
Source/Links
The Medieval Tailors Assistant, by Sarah Thursfield, has instructions on constructing such garments
Version: 2
date: 2/27/2021
Source of Period Pic: 1- the Morgan Bible, c. 1250: the wife of Manoah ,2- 1200’s, Strasbourg Cathedral and Strasbourg
A tunic and an outer layer coat associated with Norse cultures. The front panels cross over each Attempt to replicate the surviving shirt labeled as belonging to Saint Louis the 9th found in Notre-Dame de Paris,
Description:
Wool coat lined with linen decorated with a tablet woven band. The coat is shown over a
One of the many variations of the tunics. This is an attempt to replicate one of the few surviving examples of undershirts. The extant example can be found in the Notre-Dame de Paris and is claimed to belong to Saint Louis the 9th (1226-1270CE) king of France. Although the exact lineage is not provable, the garment is a representation of n undergarment from before 1300CE.
It is often assumed that the extant example is representative of one of the many variations for methods of construction for undergarments for men. Many illustrations of people from all levels of society survive showing people wearing undergarments but this example gives us insight to the construction technique.
The original is made from linen as is the reconstruction. Undergarments and additional layers are a good way to add to an ensemble as well as serving the purpose that the original served. The undergarments that get sweaty or dirty, are more easily washed than the outer garments that are often more expensive and harder to clean.
This is a tablet woven belt made in two layers. The outer layer is cotton with mylar wrapped thread that emulates gold thread used in period weaving. The images woven into the belt using a brocade technique. The belt is woven in two parts with a cotton inner belt and the layers are sewn together. The buckle is a reproduction of a 1200-1300’s buckle found in the Budapest Museum of History, Nomad hall purchased from a reenactor vendor.
SCA Iowa Garb Guide 
