EXHIBITION FASHION IN THE MIDDLE AGES

The exhibition immerses the viewer in the world of medieval fashion through three themes: the evolution of the silhouette, the importance of accessories—from headdresses to refined footwear—and finally, the social norms governing sartorial appearance in medieval society. A final section is dedicated to the making and maintenance of clothing.

Around the exhibition:
From May to December 2026, numerous events are offered around fashion and textiles in the Middle Ages: lecture series, a medieval weekend in July, a mini-exhibition on tapestry in June and July in partnership with IESA, etc.

Program details to follow at: www.tourjeansanspeur.com
Ticketing for the program: https://www.payasso.fr/tourjsp/programmation2026

Appearing___________________________________________________________

While clothing was worn loose until the 13th century, sometimes with lacing to emphasize the torso, a true revolution began at the dawn of the 14th century.

Loose clothing gave way to fitted outfits following a single aesthetic: a thin and slender body. Women's bodies were highlighted by a tight-fitting bodice with a neckline, while the male body was showcased by a fitted doublet and hose. Moralists very early criticized this brazen fashion, comparing the male silhouette to that of a greyhound.

In the 15th century, the doublet, the main element of the male wardrobe, reached mid-buttocks. This evolution required a readjustment of the hose, which eventually joined together, complemented by the codpiece, appearing at the same time!

As a substitute for a bra, women bound their chests or used "breast pocket dresses" when their breasts were sagging or too opulent.

Playing with clothing________________________________________________

Courts were the privileged places of eccentricity. Reflecting this, aristocratic clothing included numerous accessories and artifices characteristic of the late Middle Ages: metalwork belts with bells, cutouts to adorn the collars of hoods, the bottom of gowns or sleeve cuffs, precious stones, furs, feathers, etc.

Buttons or noyaux and laces accented the slenderness of the silhouette, while fur-lined openings on the sides of houppelandes allowed the garment underneath to be seen. These slits also incidentally allowed for retrieving items hanging from the belt. Headgear followed these eccentricities. Elegant men played with the multiple ways of wearing their hood, while elegant women wore increasingly airy headdresses, comparable to a ship's sails!

Footwear, like clothing, became more refined, giving birth in the 15th century to the poulaine, and later the bear-paw shoe. To walk in muddy streets, it was possible to use clogs or socques, a type of overshoe with a thick sole equipped with a strap.

The habit makes the monk_________________________________________________

For moralists, clothing was a reflection of the soul. Religious and secular authorities thus ensured respect for social norms and limited excesses. From the 13th century, sumptuary laws were promulgated requiring everyone to be dressed in a way that reflected their rank in society. In Italy, bonfires were set up in public squares to exhort the faithful to burn their excessive finery. For prostitutes, veils or headgear were prohibited. In Bergamo, Italy, a red hood with bells stigmatized pimps! Non-Christian communities had to wear discriminating signs: for example, Jews wore a yellow skullcap in Marseille, Muslims a yellow fabric wheel in Spain.

Distinctive signs appeared in the aristocracy. Coats of arms, which appeared on battlefields as early as the 12th century, were represented embroidered on clothing in the form of small badges. These garments could also be personalized with the colors and arms of the prince. In the 14th century, mottos, personal emblems of the prince, spread and became real communication tools.

Only costumes for the numerous festivals allowed, for a time, a disruption of values perfectly represented by the jester, a professional entertainer in the service of kings and princes.

Exhibition curator:

Nadège Gauffre Fayolle, medieval historian
Independent researcher, specialist in clothing in the Middle Ages and member of the AFET (French Association for the Study of Textile)

With the loan of clothing and accessory collections from the reconstruction associations Mercurius and Artemis (Nicolas Baptiste and Soline Anthore Baptiste, respectively doctors in the history of armor and the history of clothing)