Clothing the Virginia Colonist

An Overview of Mens Clothing of the 1st Quarter of the 17th Century by Tom Apple

Coming to Virginia, a much different climate than England, presented the colonists with challenges in bringing the right type of clothing. Virginia weather can offer bone chilling Winters and tropical Summers with 100% humidity and 100+ F temperatures . Far outside the climatic experience of most English. Accommodating these conditions had to be balanced with the social propriety of how garments were to be worn in public. We dont know exactly what compromises were made in how garments were worn, so for the most part we must assume that the colonist tended to follow the same conventions that they were familiar with from home. One concept rather foreign to people these days is the idea that the shirt was considered underwear. A shirt was not to be seen in public or polite company. The exception were the cuffs and collars which were often detachable to allow for easy laundering. The detachable nature of these pieces of clothing permitted the person to wear a shirt of cheaper, coarser fabric with the collar (falling band) to be made from a finer, more expensive linen. With the exception of the lowest of laborers, you just didnt see people in public with their shirts exposed. When hot and/ or dirty work was to be done, a person would wear a work smock or cassock over their shirt. The engravings from the various series of figures titled Cries of London show working class and poor laborers who hawked their wares or trades on the streets of London and other large cities. Not one of them is wearing only a shirt or even a jerkin over just a shirt. Each one wears a doublet, cassock, or work smock (overshirt). When looking at early 17th c. clothing it is also important to note the fit of each piece. Doublets tend to be form fitting and rather tight. Breeches are full and high waisted. A loose, baggy doublet is almost as much of an anachronism as a pair of blue jeans. Care must be taken in fabric selection. For the most part, cotton fabric should be avoided in making reproduction 17th c. clothing. Cotton fabrics did exist in the 17th century, but most of those available today, bear little resemblance to cotton fabrics of the 17th century. Unless you have the ability to discern the difference, its better to just stay away from cotton fabric. For the sake of staying cool in Virginias tropical Summers, proper use of linen, and blended fabrics like fustian (cotton, linen) linsey-woolsey (linen, wool), and wool jean (wool with cotton or linen warp). Later in the 17th century, the pervasive use of blended fabrics in Virginia like wool jean earn them the name Virginia cloth. The list of suggested clothing from Captain John Smith (next page) does give us some insight to the how the weather conditions were accommodated through fabric selection. It is recommended that when constructing period clothing, that all visible stitching be done by hand. Clothing finished by sewing machine looks distinctly different than hand finished garments. The actual time spent in finishing by hand is not all that much more than making a machine finished piece. In the long run youll be glad you did, and the public does notice that kind of detail in your clothing. If youre not confident in your handsewing skills, practice making utilitarian type stuff like haversacks, food sacks, and/or a bed sack.

Recommended Clothing for Virginia Colonists by Captain John Smith - 1624 Excerpt from Purchas His Pilgrimes; Contayning a History of theWorld in Sea Voyages and Lande Travells by Englishmen and Others published 1625:

Apparell for one man and so after the rate for more. One Monmouth Cap 1s. 10d. Three falling bands 1s. 3d. Three Shirts 7s. 6d. One Waste-coate 2s. 2d. One sute of Canvase 7s. 6d. One sute of Frize [frieze] 10s. One sute of Cloth 15s. Three paire of Irish stockins 4s. Foure paire of shooes 8s. 8d. One paire of garters 10d. One doozen of points 3d.

Monmouth Cap: A knitted wool cap, originally made in Monmouth, England where a sixteenth-century example exists in the Monmouth Museum. It has seamless stocking stitch throughout, with a flat double brim knitted together at the edge, which continues into a loop and it is knitted in coarse, thick, 2-ply wool, felted, thickened and shorn. These caps were once knitted in the county and are an example of one of the earliest surviving medieval knitted garments.

Original 16th Century Cap from Monmouth Museum

Falling Band: The falling band is essentially a collar attached temporarily or permanently to the shirt. The fact that they are separate on this list indicates that they are referring to the detachable type, which is likely the most common and practical arrangement. The falling band consists of a rectangular neck band as long as the circumference of the neck and as tall as the collar of the doublet, typically 1 to 2 inches. The falling band part is the arc shaped piece of linen that hangs over the doublet collar. The falling band piece can be a piece of linen cut out as an arc (more expensive fashion) or a rectangular piece made into an arc by series of darts taken in it. The inside curve of the falling band part is sewn to the neck band. Cloth tape or lucette braided ties are attached to the ends of the neck band to fasten the band closed around the wearers neck. The falling band is worn such that its neck band is inside the collar band of the shirt with the falling band portion falling over the doublet collar. To help keep the falling band oriented properly and neat, often the neck band of the falling band is pinned to the collar band of the shirt on the back of the collar with a straight pin. Often the falling band is made from a finer linen than the shirt and for the wealthier folks, it may be edged in bobbin lace.

Linen Shirt: The linen shirt is similar in construction as an 18th c. shirt except that the collar is different and often the body and sleeves are fuller especially when very fine linen is used. A shirt typically uses about three yards or more of linen and extends down to the knee or just below it. The shirt will have a simple collar band about 1.5" tall. The collar band may have cloth tape or cord ties to fasten it closed, or it may have a grommet worked on each end where the ties from the separate falling band can be run through thus closing both collar band and neck band of the falling band when tied. Sometimes the falling band is integral to the shirt. In that case the falling band is attached directly to the collar band of the shirt, but not directly to the shirt body as in 18th century shirts. The collar band can also be closed with small buttons braided or woven from thread. Usually instead of a buttonhole there is a loop of braided cord on the opposite edge of the collar band to capture the button. The sleeve cuffs are narrow, about 1 inch, and are fasten closed with cloth tape or braided cord attached to the cuff band ends or threaded through small grommets worked on each end of the cuff band. The cuff band can be fasten closed with buttons the same way the collar band is when buttons are used. However cloth tape or braided cord seem to be the most common means to close the openings of the shirt. Detachable cuffs can be put on the shirt where the outer cuff portion is folded back over the doublet sleeve. The outer cuff portion is sometimes edged in lace for the wealthier folks. These detachable cuffs attach to the cuff band pretty much the same way the detachable falling band does to the collar band.

Mens Shirt, Type using Grommets on Cuff Band and Collar Band.
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Waistcoat: One of the most elusive of garments to describe because you dont usually see them in artwork, no originals exist, and most references are written estate inventories which give scant info on their configuration. So far the consensus is that the waistcoat: generally follows the pattern of the doublet, may come with or without sleeves, is made from unlined wool cloth or is knitted, and doesnt have the tabs along the bottom of it or wings on the shoulders. It is worn over the shirt, under the doublet, with the bottom of it tucked into the breeches. Probably was tied, laced, or pinned closed. Suits of Canvas, Frieze, and Cloth: Three suits (doublet and breeches) of three types of cloth suitable for three types of weather. Canvas: The term canvas comes from the word cannabis indicating its origin as a hemp fiber. Could possibly be also of heavy linen by this time. It would range in weight from 11-16 ounces per square yard. Cotton canvas/duck would not be used at all during this period. Would be used in hot weather. Suits made from canvas would most likely be unlined. Frieze: A heavy durable fabric with a rough, nappy surface on one side that is woven of coarse wool. Would be used for very cold weather. Cloth: Refers to English broadcloth of 15 to 17 ounces per square yard plain weave, heavily felted/napped such the cut edges do not unravel easily. Garments made from this type of broadcloth often have the edges left raw. Could be worn in Fall, Winter, and Spring, but rather uncomfortable for Virginias tropical Summers. Doublet: A high waisted jacket, typically with a series of tabs or basks around the bottom of it. As the century went on the basks get progressively longer but are relatively short (3"- 4" long) during the early Jamestown years. Can have a pointed front or be straight across. The shoulders have wings around most of the shoulder seam. The sleeves can be laced on, partially, or fully

attached. The doublet was normally attached to the breeches by lacing, hooks and eyes, or by a series of metal pointed tape ties called points that were run through pairs of grommets and tied on the outside or laced on the inside to the doublet by a fabric strip with grommets worked along it. Buttons tend to be rather small and numerous. The doublet is typically lined with linen and usually has triangular panels in the front to stiffen the stomach to make it flatter. The doublet can be quilted and padded, especially arming doublets which were designed to be worn under armor and often have lacing holes in the upper sleeves. Arming doublets dont have the shoulder wings and may not have the tabs around the bottom.

Soldier Wearing Typical Doublet and Breeches Jakob DeGheyn, 1607

Breeches: Breeches usually very full, gathered to the waistband and often to the kneeband. Has a simple fly front, basically a long narrow flap that buttons to the other side of the fly opening. It can have pockets, which would resemble the pocket used by 18th century women, but with the slit of the pocket opening sewn to the opening on the side seam of the breeches. Breeches can be lined with linen. The bottoms are often fastened closed below the knee using buttons, garters, or both. Irish Stockings: During the 17th century Irish stockings are described as stockings made from woolen cloth, cut and sewn together. Period texts refer to them as being more durable than knitted hose.

Garters: Garters would be made from silk, linen, or wool tape or ribbon. Some were made on inkle looms as there are period references to inkle tape which was also used for trimming hats and clothing. Garters were used to keep stockings up and to close the bottom of breeches. Points: Points are metal tipped ties made from ribbon, tape, or braided cord. They are used to fasten the breeches to the doublet, sleeves to the doublet, and to lace the front of jerkins closed.

Shoes: Shoes are typically rough side out with stacked or wedge heels, has a narrow latchet secured closed with cord, ribbon, or tape. Has a distinctive hole above the side seam which lets mud and snow in very nicely. This hole is larger for wealthier folks less likely to walk through mud and smaller for the poorer folk who do.

Beggar and Chimney Sweep Cries of London, circa 1590-1600

Other Clothing Pieces Hats: A variety of felt hats were worn, as well as knit caps like monmouth caps, thrum caps, and a variety of brimmed knit caps. Also cut cloth caps like the town cap which looks like a scots bonnet with a brim all the way around it. Felts hats would have a linen bag lining and/or a leather sweat band. They may have the edges trimmed in tape or ribbon and the crown may have s decorative band of twisted cloth, lace, or a leather band with a buckle (but not like the type shown with stereotypical Pilgrim hats). The engraving of the conspirators of the 1605 Gunpowder Plot, including the infamous Guy Fawkes, is an interesting study of felt hats and modes of decoration as well as clothing. The top (long) edge of the fabric would be gathered to a falling band type collar of up to about 4 - 6 inches wide. Either type of cloak would be closed at the neck with a hook and eye or with cloth tape or cord ties. Cloaks are versatile garments which can be used as an extra blanket for sleeping.

Shoe Seller Wearing a Cloak Cries of London, circa 1603

Gunpowder Plot Conspirators Cloaks: The most common style of cloak and easiest to make is the compass cloak which refers to its circular shape. Basically a large circle of wool, often lined with a round opening in the middle for the neck, and an opening down the front. Because of the typically narrow fabric available at the time, it might be pieced together in such a way to make maximum use of the fabric. Usually compass cloaks extend down to the hips or to just below the hips so that it can be worn poncho-like with the hands exposed to do tasks, still keeping the front of the body covered. The compass cloak may come without a collar or have a wide falling band type collar like that worn by the man in the Gunpowder Plot engraving, second from the left. Another type of cloak uses a large rectangle of wool cloth about two yards in length and up to the full width of the cloth (up to 45) depending how far down on the body you want the cloak to cover.
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Man Wearing Gathered Cloak in Foreground and a Man Wearing a Compass Cloak in the Background. January, Sebastian Vrancx, 1618

Jerkin: Jerkins are over garments to be worn over the doublet to help keep the wearer warm or to protect the doublet. Jerkins usually do not have permanently attached sleeves. They are made from cloth or leather and the pattern is essentially the same as the doublet. Jerkins are NOT worn over just a shirt.

Man Wearing a Jerkin over a Pinked Doublet Peasants Joy, David Vinckboons, ca. 1610s

Sailor Wearing Thrum Cap, Cassock, and Venetian Breeches. Habiti Antichi e Moderni. Circa 1600 Work Smock: The work smock is essentially a large overshirt, made of coarse linen, hemp canvas, or fustian. Its pattern is essentially the same as the shirt but with less full sleeves and almost always a band collar. It would be worn over regular clothing to keep it clean during labor, over just a shirt, or for the poorer sort of farmers, it might be the only garment worn when working in muddy fields.

Cassock: During the early part of the 17th century, the cassock is a rather short, loose fitting over garment that extends down to just below the bottom of the doublet. It can be made to pullover or can be buttoned up the front. One type of cassock is used as a winter garment and would be made from a heavy wool such as frieze, possible lined in wool or linen. They usually have a narrow wing on the shoulder seam and some examples even have angled slash type pockets on the front. The cassock usually has side and back vents extending up from the bottoms of the side and back seams. Work versions of the cassock may be made from lined or unlined hemp canvas or linen and are designed to keep the other clothing clean and be loose fitting to allow ease of movement for heavy labor. The cassock has a four piece body of symmetrical pieces excepting the front panels have a larger armscye and lower collar opening. The cassock may have a low 1 inch high band collar or no collar at all. The sleeves of the work type cassock may be only partially attached to the cassock body, allowing air to enter under the arms to keep the wearer cooler.

Chimney Sweep Wearing Work Smock Cries of London circa 1620.

Sources: Monmouth Caps: http://www.isca-morrismen.com/monmouth.htm Irish Stockings: Pilgrim Provisions: http://www.pilgrimhall.org/provsns39.htm Waistcoat, Falling Band Pinning, and Belts: Discussions from Renaissance Tailor Yahoo Forum, January 2005, http://groups.yahoo.com/group/TheRenaissanceTailor/ Paintings by Sebastian Vrancx, Web Gallery of Art, http://www.wga.hu/index.html Bibliography: Arnold, Janet; Patterns of Fashion, Drama Publishers (1985) Billings, Warren M. (editor); The Old Dominion in the Seventeenth Century, A Documentary History of Virginia, 1606-1689. Published for the Institute of Early American History and Culture at Williamsburg, Va., by the University of North Carolina Press (1975) Brown, Christopher; Images of a Golden Past, Abbeville Press (1984) Shesgreen, Sean; The Criers and Hawkers of London: Engravings and Drawings by Marcellus Larroon, Stanford University Press (1990) Waugh, Norah; Cut of Mens Clothes, Theater Arts Books, (1991)