C.1400, English
Nobleman in elaborate high-necked doublet (paltok) with one contrasting sleeve. Separate scalloped cuffs, knightly girdle round the hips, footed hose with one leg red, the other green. The hat is unusual. (Lincoln Cathedral Library, MS 218).
94
Materials
Outer fabric - use lightweight (but firm) woollen or worsted cloth, closely-woven linen or furnishing union (cotton/linen mixture). Twill-weave linen or flannelette sheeting can be used in place of the medieval fustian. Elaborate doublets could be in taffeta, satin, patterned silk or embroidered silk. Some 15th-century doublets had the collar or sleeves made in a finer material or richer colour than the body, which was largely covered by the outer garment.
Lining - use linen or another light wool. Interlining - use canvas or calico. Use stiffer canvas for standing collars.
Planning
and
cutting
Instructions
for
planning
and
cutting
specific
doublets
are
given
as
captions
to
the
Figures.
They
include
basic
(Fig
4)
and
fashionable
(Fig
6)
versions.
Cut
all
the
pattern
pieces
in
the
outer,
interlining
and
lining
materials,
noting
instructions
for
the
different
sleeves.
For
edges
which
are
to
have
eyelets
or
buttonholes
-
sleeve
openings,
fronts
and
lower
edges
-
cut
the
interlining
to
the
fitting
line,
but
cut
the
outer
material
with
extra
seam
allowance
to
fold
back
over
the
interlining
(Methods,
Fig
12).
You
can
cut
the
lining
shorter
along
these
edges
to
avoid
working
the
eyelets
through
extra
layers
of
seam
allowances.
To
plan
your
garment
use
the
wearer's
personal
bodice
Block.
The
pattern
shown
here
corresponds
approx.
to
modern
size
42.
The
fine
lines
show
original
Block
outline.
Heavy
broken
lines
indicate
alternative
outlines.
Letters
indicate
joining
points.
For
abbreviations
and
symbols
see
p.
10.
Add
seam
allowances.
The
four
bodice
pieces
must
be
cut
accurately
for
a
proper
fit.
Making up
Doublets are built up from several layers of light or medium weight materials to produce a firm, structured effect. The same result will not be achieved with a single thicker layer, so there are no short cuts.
Interlining - Tack the interlining to the wrong side of all outer material. The high 15th century collar needs an interlining of stiff canvas.
Bodice - Make up the bodice, including the hip sections and under collar. For collars see Methods, Fig 14.
Sleeves - Make up the sleeves including the linings, with puffs if used. Finish the wrist ends with any fastenings, and tack all layers together round the sleeve head.
Set the finished sleeves into the doublet body, matching the SP and BP.
For sleeveless doublets (Fig 5) finish off the neck and armholes.
Padding - The bodice of doublets can be padded with extra layers of soft cloth over the shoulders and upper chest. Add them at this stage, stitching them lightly in place along the seam lines, then stitch down the edges of the outer material on the inside, over all interlining. Padding of sleeve puffs is described in Fig 9.
Bodice lining- Stitch the facing to the collar. Make up the complete lining for the Back, Front and hip sections.
Pin the lining into the bodice (Methods, Fig 12), matching up the seam lines; turn in the allowances round the armholes and edges. Hem round the armhole seams, then hem or stab- stitch round the front, neck and lower edges (Pl 1). To make the garment firmer or hold any extra interlining in place, catch the lining through the seam turnings of the outer fabric, stitching along the seam lines from the inside so the stitches are not seen on the outside.
continuedoverleaf
Basic doublet Fashionable doublet
4
95
Basic doublet
4a
Basic doublet, mid 14th century onwards
The neck can be plain or have a narrow band collar. Hip sections are long, with side vents, and have points stitched inside for separate hose. The sleeves are quite plain and tight at the wrist: in the 14th century they were fastened with a dozen or more buttons. Later they had just one or two. The body is laced closed. The whole garment could be lightly padded and quilted.
Fastenings - see Methods, Figs 16-21
Most doublets were laced at the front (Fig 4a) and buttoned at the wrists, but sometimes they were buttoned at the front (Fig 4b). Despite the close fit of the doublet, no extra width needs to be added for fastening, as the buttons and holes are very close to the edge (Pls 2, 3). The number of buttons on each sleeve varied, from a dozen or more in the 14th century to one or two by the middle of the 15th.
For tying a doublet to hose see Methods, Fig 18.
b
b. The standing collar with characteristic V back was usual for the 15th century. The front is fastened with buttons, though lacing was still more common. The hip sections might be shortened for joined hose, and have eyelets for trussing.