slaves and indebted bondsmen with no real property of their own

LOW STATUS would probably make up a sizeable percentage of the population. Fabric Types and Colours.
*Use only pale un-dyed wool or
Every re-enactment group will claim to take pride in Kit list men- simple tunic, leather or cloth cord to use as a waist tie (not linen cloth but avoid true white.
their “authenticity”, but although nobody ever sets out to *The colours below are loosely
deliberately get things wrong very few rigorously study all the necessarily a proper belt)
available research. Sadly most seem driven by personal vanity representative of the natural sorts
and a desire to “dress up” to impress their mates, rather than Kit list women- simple tunic, some manner of plain head covering, leather of off-white, cream, grey and beige
accurately recreate what the evidence suggest was typical of the or cloth cord to use as a waist tie colours you should aim for, but bear
period. I like to think I try much harder than most to get things in mind un-dyed cloth may not be
right, but interpretation of the evidence can be subjective and I’d not ask anybody to suffer for the goal of ultimate authenticity so if the weather,
some may disagree with the advice offered here. As such these ground conditions or other circumstances are not suitable for such limited kit, then totally uniform in colour, fabrics
notes are offered only for guidance in the hope that people will much of the average status clothing can probably be worn provided it is kept to the pale, may be subtly mottled or have a
do their best to set their own group’s dress code and standards un-dyed fabrics suitable for low status individuals. If anyone challenges you simply slightly mixed “tweedy finish”.
in line with their understanding of the available evidence. claim to have a generous master who would not see a hard working slave suffer. *Use mainly tabby weaves with a
low sett (warp/weft count). ideally
Necklines can be It is generally believed that all working around 7 threads/cm for wool and
Sleeves should be slightly loose on the upper arm round, square or a women would cover their hair but whether roughly 8 threads/cm for linen if at
and tight at the forearm, yet long and pushed close keyhole cut. slaves would wear a simple scarf or more all possible.
back at the cuff. There is some evidence to tailored form of head wear is not known *Costume should look plain, faded,
support the notion that the poorest slaves/workers
wore short sleeved or even sleeveless garments. careworn, and probably patched,
Sleeves are commonly widened at repaired or second hand.
Most men’s tunics the armpit with a gusset for ease
are cut to hang to about of movement. Women’s tunics may
knee length when tied or require larger, or differently shaped
rucked up at the waist. gussets to accommodate the bust.
Slaves tunics may have
been a little shorter to
reduce the amount of
cloth used.

All clothes across every status of society

would be very time consuming to make.
Evidence suggest that most women’s Dress Accessories/Jewellery.
tunics should hang to ankle length, just *Strictly speaking you wouldn’t
Therefore all clothes would be well cared covering the top of the feet. However
for, well maintained and would be endlessly among working women, some skirts
own anything, everything you wore
patched, darned and repaired if damaged. It may have hung to between knee and would be provided by your master.
is unlikely that many slaves would ever get mid calf length. This would have been Your costume would be simple and
completely new clothes, they would have to
make do with old “hand-me-downs” and so
more practical for carrying out daily unadorned
chores and much cheaper in terms of * Within the realms of re-enactment
your costume should reflect this. the amount of cloth needed. it’s quite acceptable on the grounds
Male slave’s legs should of comfort and/or safety to wear
probably be bare but hose Slaves should probably go bare- All visible hems and seams should be hand stitched and I’d encourage more than the minimum kit shown
or trousers can be worn for foot or wear raw hide rivelins, people to try to match the fineness of period needle work. Even cheap here, speak to your group leader
warmth or modesty. however, leather turn shoes are clothing would be very well made to last. Period woollen garments were about what they will and won’t
advisable on the grounds of sewn with woollen thread averaging about 2-3 stitches/cm, whilst linen permit. As such it may be necessary
comfort and safety. clothes would be sewn with linen thread averaging about 3-5 stitches/cm. to use a plain wooden or bone pin to
fasten or secure any additional items
of clothing.
Basic Viking costume at a Glance - www.aidan-campbell.co.uk Spring 2010 Page 1
 self sufficient rural folk working hard to provide the basics for themselves
AVERAGE STATUS would probably make up significantly more than half the population. Fabric Types and Colours.
*Use pale un-dyed wool or linen
Most groups authenticity rules can be somewhat liberal Kit list men- under-tunic, over tunic, hose or trousers, turn shoes, belt and for the main costume construction,
regarding the use of coloured cloth and decorative braid a knife in a simple sheath, dress accessories of wood or bone. (hood, socks, some darker naturally grey/brown
among the majority of their members and I do not feel they are cloak and leg bindings are optional) wools are acceptable as are bleached
wholly backed up by study of period textiles, dye analysis or (not modern bright white) linens.
other archaeological evidence. Whilst most re-enactors like
to dress up, few willingly dress down. The guidelines here are Kit list women- under tunic, overdress some manner of plain head covering, *Coloured facings at the neck or
a cautious interpretation of the evidence liable to satisfy the turn shoes, belt and a knife in a simple sheath, dress accessories of wood or cuffs may occasionally be permit-
most stringent of any re-enactment groups dress codes. bone. (socks, and a mantle or cloak are optional) ted. Weak yellow/greens are the
most appropriate but drab brick red/
orange may also be accepted.
This is the way in which the majority of the population would *Similar colours may be used for a
most probably have dressed most of the time, and as such, this is little simple decorative stitching.
the way I would encourage the majority of re-enactors to dress. *Tabby or twill weaves can be used,
wool twills of contrasting warp and
The neck area of women’s tunics shown in period
weft offer some degree of decora-
Those with access to a little more cloth applied
illustrations are almost invariably covered by tion. Try to stick to a low(ish) sett
protective facings to the neck and occasionally the of roughly 7-12 threads/cm for wool
cuffs. These may be of the same cloth as the main longer scarves, head coverings or wimples, so we
tunic or of a contrasting fabric for decorative effect. can’t be sure of its actual construction. and 8-16 threads/cm for linen.

Men’s over tunics should be It seem likely that women’s

long enough to completely over tunics should have looser
conceal the under tunic. sleeves and a shorter skirt to
expose a little of the under tunic
at the wrist and the ankle.

Belts should be narrow ideally about 10-18mm

wide. Although women’s graves often include Dress Accessories/Jewellery.
strap ends, they contain far fewer buckles Whilst small day to day items like a *Belt buckles, pins and other dress
suggesting they may have tied or hung through knife, keys or needle case may be worn accessories should be mainly bone
loops formed at the end of the belt. individually suspended from the belt,
the evidence suggests that if pouches or wood.
Leg coverings can be either trousers or were worn to carry such items they *Minimal use of cheaper metal
hose, with or with or without integral feet, were concealed under the outer tunic to dress accessories like pewter, iron
but should be close fitting to the calves, not reduce the risk of loss or theft. or bronze may be tolerated.
loose or baggy (except for those portraying *Think functional rather than deco-
the Rus). These can be further protected rative, your dress accessories are
with leg bindings/puttees if you wish.
The hangeroc is a classic viking women’s outfit. (see High Status) there to hold your clothes in place.
Although generally associated with wealthy high status individuals and *Carrying a knife was sign of
Leather turn shoes can be worn in variety of styles but these should be shoes potentially more common in Scandinavia than Britain it is often important that
rather than boots that project way above the ankle. Period leather shoes would Vikings distinguish themselves from the Saxons within the same re-enactment freedom so a small knife (typically
not normally be as smooth as mechanically dressed modern leather, but should society. Consequently many groups encourage women of this rank to wear a 3 to 4 inch blade) is encouraged.
show grain pattern, creases and natural growth marks across their surface. hangeroc made of cloth more appropriate to average status individuals. *Combatants of this rank should
only have minimal war gear perhaps
a spear and plain shield
Basic Viking costume at a Glance - www.aidan-campbell.co.uk Spring 2010 Page 2
 individuals of some wealth would probably only be commonplace in wealthy
HIGH STATUS towns/trading ports or may be the leaders of smaller rural communities. Fabric Types and Colours.
*Use of yellow/green wool for the
Consider the sorts of activity you wish to portray within your Kit list men- under-tunic, over tunic with coloured or decorated facings, main construction of prominent
group and those you may have to help out with, - are they over-garments is encouraged. Some
all appropriate for a high status individual? Many tasks on hose or trousers, turn shoes, belt and a knife in a decorated sheath, cloak,
a Living History camp would only be undertaken by lower decorative metal dress accessories (hood and leg bindings are optional) weak washed out brick reds or faded
status individuals, whilst only a few specialist crafts would slate blues may be tolerated for those
be limited to the wealthy. Wearing high status kit may exclude Kit list women- under tunic, hangeroc with appropriate domed brooches of greater wealth.
you from much of what goes on. I’d encourage every person and beads, coppergate or some other head covering, turn shoes, a mantle or *Brighter colours may be used for
to bring lower status kit with them to every show in case they facings at the neck, cuffs and hems,
are either required to, or wish to help out with more common cloak, belt and a knife in a decorated sheath. (other decorative metal dress
place duties. Your group may also require you to dress down accessories, are optional) for embroidered decoration or for the
to balance numbers among the different social classes. production of tablet woven braid.
A small linen or silk cap known as a coppergate may
have been preferred by wealthier viking women, and it *Twill weaves are recommended
We have no strong archaeological evidence is this we recommend should be worn with a hangeroc for both wool and linen cloth. Most
to support the widespread use of dyed dyed textiles should be of a finer
linen cloth in our period, and as such it is Women’s under tunics are more likely to be quality than average and should
best avoided. However, many re-enactors decorated than men’s as the decoration will
do use it on account of earlier examples, actually show. There is a growing body of have a higher sett. Ideally more
occasional literary references and the fact evidence to support the notion that linen under than 12 threads/cm for wool (thick
we can reproduce it using period dyes. tunics gathered or pleated around the neck/ cloaks are often less) and more than
chest and potentially down their entire length, 16 threads/cm for linen.
Note that most period exam- were worn in association with the hangeroc.
ples of tablet braid are much
finer, narrower and plainer Wearing long strings, or
than most used by modern re- multiple strings of beads was
enactors, try to stick to those rare . Although some finds do
less than 1cm in width. include hundreds of beads, just
a dozen or so beads would be a
more representative number.
High status tunics, over dresses or hange-
rocs would probably have fuller skirts
Evidence for wearing belts with
with wider gores in the seams to show the
the hangeroc is very limited, Dress Accessories/Jewellery.
wearer could afford to use more cloth. *Belt buckles, clothes pins and other
Even so, most still seem to have been worn however most re-enactors prefer to
to similar lengths as cheaper clothing. do so for reasons of practicality. dress accessories can all be decora-
tive metal with minimal use of pre-
The hangeroc (a type of suspended cious metals like silver
Trousers or hose may have been less pinafore dress) is characteristically *Wearing items of non-functional
frequently dyed, so unless the rest of high status Viking. Evidence for it’s jewellery is permitted but again
your kit is very high status stick to exact form is very inconclusive and it
Construction of higher status costume rarely differs much
seems probable that different forms restrict the amount of silver.
un-dyed cloth. However, puttees/leg from low status; it’s the quality, and quantity of cloth used
bindings seem to have been regularly may have existed. All we can be sure *Warriors of this rank may need
that matters most. Many people fixate only on the colours
dyed so these can be coloured. of cloth and decorative braid available to higher status of is that current evidence suggests more than basic war-gear and may
individuals, Colourful dyes and braids are not appropriate it was always made of good quality posses a plain helmet, simple sword
if applied to the same types of cloth as used for low status cloth, and was worn with the domed or perhaps an old suit of mail though
oval brooches which hold it up via
clothing, you must look out for more complex patterns of
varying complexities of linen straps. keep in mind people of this rank
weaving and cloth with a higher sett or thread count. may not necessarily be able to afford
the latest designs or most decorative
examples.
Basic Viking costume at a Glance - www.aidan-campbell.co.uk Spring 2010 Page 3
 the nobility with easy access to expensive foreign goods and command of armies
ELITE NOBILITY would probably be so rare as to be never be seen by most ordinary rural folk. Fabric Types and Colours.
*These ranks of individual can use
Perhaps the biggest problem with attempting to portray Kit list men- under-tunic, coloured over tunic with elaborately decorated any colour/dye we’ve evidence
the highest ranks of society is not in attempting to for, which could include foreign
reproduce inappropriate costume, braid, embroidery or facings, hose or trousers, turn shoes, cloak, belt and a knife in decorative
jewellery, but in failing to produce these replicas to a high sheath, decorative silver of gold dress accessories (hood, and leg bindings imported dyes. Complicated double
enough quality to communicate the skill of the period are optional) dyed colours such as purple and rich
crafts worker. All re-enactment societies are full of cheap, greens are also permissible, however
quickly executed, half-hearted and un-convincing portray- Kit list women- under tunic, coloured hangeroc with appropriate domed it would be rare for all but the
als of those claiming to be the ruling elite. Quite simply wealthiest to use the most expensive
don’t attempt this unless you are willing to dedicate a lot brooches, beads and other jewellery, coppergate or some other head cover-
of your time and effort towards getting it right. ing, turn shoes, cloak or mantle, belt and a knife in a decorative sheath. colours for the main construction of
their clothes, such colours would be
used largely for decorative trims.
There is some archaeological Decorative braid or embroidery must be very finely *Cloth must be of a luxurious nature
evidence to suggest that, for the executed. Chunky, thick needle work used to quickly which means a high sett, complex
wealthy at least, the wrinkled cuffs add a lot of colour, or excessively simplified minimal weave and may include some silk.
depicted in manuscript illustra- designs can’t be accepted. At this level a lot of fine
silk, silver and gold thread is to be expected along *Costume must include a lot of fine
tions may actually be bands of
quilted or cushioned embroidery. with the use of pearls and gemstones decoration in the from of braids or
embroidery, which should include
precious metal threads and silk.
We have occasional references or
finds supporting the use of a wider
range of garment types or styles. If
you want to research and recreate
a rare or more unusual item of
Jewellery or dress accessories clothing that is perfectly acceptable
must be of the very highest for individuals of such high rank.
quality. They must have an
indisputable WOW factor.
Dress Accessories/Jewellery.
With so much permissible at the highest ranks *Lots of silver and some gold should
almost anything you can back up with research is be in evidence, replica jewellery
acceptable. The main thing to consider is that period
fashion didn’t seem to involve a sense of overall should be of the highest quality.
aesthetic. Each piece of costume was most probably *Decoration should be on more than
Period plant based dyes were not generally as vibrant as modern synthetic dyes, nor were they as judged on it’s vibrancy and amount of decoration. just the outer garments, under-tunics
predictable. Consequently the bright clear colours we are used to in the modern world were very dif- Similarly each piece of jewellery was individu- should also be moderately decorated
ficult to achieve and were signs of the seriously rich. Plant dyes produce a range of shades depending ally judged on it’s complexity and artistic merits.
upon the climate and location they were grown. Perhaps the most commonly detected dye in English Don’t try to colour co-ordinate different items but
as should knife sheaths and warriors
period textiles is madder red; this gives a range of pinks, oranges and brick reds, the best imported assemble as much high quality “bling” as you can war gear.
madder can give slightly richer reds. Woad blue the other commonly detected dye typically gives slate manage. However, with Viking art showing a clear *People of these high ranks almost
grey blues but richer “denim” blues can be achieved with the very best woad. Most native wild plants chronology and evolution of style, do try to ensure certainly had more than just the
will give a weak yellow/green colour but many soon fade or wash out and so they hardly ever survive all the embroidery and jewellery are of a largely occasional slave, they had a retinue
burial. Nevertheless as they would be more easily/cheaply obtained it is possible that these could have similar date range relevant to a particular look. Also
been more commonly used by the not quite so wealthy, though this must be balanced against the fact it try to ensure that the costume is not just the right
of staff. Your most prominent dress
would be a lot of effort for a short lived and fairly unimpressive (to modern eyes?) end result. colours but the finer more luxurious types of fabric. accessory would be the size and
opulence of the entourage that trav-
elled with you.
Basic Viking costume at a Glance - www.aidan-campbell.co.uk Spring 2010 Page 4
Is it Authentic? THE BIGGEST MISTAKE ANY RE- Common Problems. *Disposing of low status kit as you advance in
ENACTOR CAN MAKE IS TO PRODUCE social rank. (Everybody should have available
The simple but blunt answer to this most com- OR BUY SOMETHING BELIEVING IT TO *NOT ASKING FOR HELP WHEN YOU some low/middle status kit if needed)
monly asked question is almost always no! BE TOTALLY AUTHENTIC. PERFECTION NEED IT, - DON’T START ANYTHING
The somewhat fuller answer is very dependant DOES NOT EXIST. EVERY REPRODUC- UNTIL YOU ARE SURE IT WILL MEET *Using too much colour or decoration on
upon how we choose to define authenticity. TION GARMENT, ARTEFACT OR RAW YOUR GROUP’S MINIMUM STANDARDS. your kit. Most peoples clothes would be un-
MATERIAL INVOLVES COMPROMISE. IF dyed and un-decorated, with functional rather
Historical re-enactment can only ever be a YOU CAN’T IDENTIFY THE MOST SIG- *Blindly copying somebody else’s kit just than decorative dress accessories. (See earlier
compromise, no portrayal of the past can ever NIFICANT OF THESE DIFFERENCES because you liked it. Their kit may not be about representing those of lower status)
be totally authentic. We have to contend with FROM A TRUE PERIOD EXAMPLE ASK accurate or may not be relevant to your social
two problems: The first is that we do not have SOMEBODY MORE KNOWLEDGABLE status. Always start with research, even if *Concentrating only on the colour of your
enough reliable evidence to define with abso- THAN YOURSELF WHAT THEY ARE. that’s just asking others about their research. clothes rather than the fineness of the cloth.
lute certainty what constitutes an authentic YOU CAN THEN DECIDE IF THE COM- Get into the habit of judging cloth by the sett
portrayal of the past. The second is that the PROMISES WHICH SAVE US TIME AND *Forgetting about obvious signs of modern life and pattern of it’s weave. The richer the char-
practicalities of living in a busy modern world MONEY ARE INSIGNIFICANT ENOUGH when on display to the public. Watches, nail acter you portray the finer the cloth.
means few of us have the time, the money, or TO BE JUDGED TOLERABLE! varnish, lip stick, tattoos, piercings, radical
the skills needed to fully research or accu- hair dyes/styles and other modern jewellery or *Visible machine stitching. Some groups
rately recreate every item of costume or arte- On the whole the best re-enactors to turn to cosmetics should all be removed or concealed. allow the use of sewing machines for inner
fact we need. Consequently we cannot define for advice are the ones that will tell you all Items like cigarettes, drinks cans, plastic seams, but visible necklines, cuffs and hems
authenticity as an absolute quantity, instead the reasons why their own kit or costume isn’t bottles, car keys, mobile phones, cameras etc. should ideally be hand stitched.
we must judge a level or degree of authentic- actually quite as authentic as you might first should also be avoided when in costume.
ity in everything we do. The two questions we have thought. Those people who will acknowl- *Rushing the hand finishing of garments.
really need to address are; “Is it authentic edge the faults with their own kit are the ones *Deliberately mixing modern and period items Period hand sewing was often finer than
enough for our particular needs?” and “How who will constantly strive to improve it. Those is not good practice. Don’t assume nobody modern machine stitching. Chunky, irregular
can I make it more authentic?” who believe their kit is perfect are mis-guided will notice if you pop out in your trainers, that hand stitching looks wrong on period clothes.
and are unlikely to see any reason to improve. people will ignore the carrier bag your lunch
We must also distinguish between accuracy In many cases the reasons a particular artefact is in, or that nobody will see the T-shirt you *Leaving inside seams un-finished, holes un-
and authenticity. An item may be an incred- or piece of costume may be in-authentic can are wearing under your tunic. patched and hems to fray. All period clothing
ibly accurate replica of a period find, but may be minor, and many so called “problems” may was too valuable to leave to fall apart. Your
still not be “authentic” to the character you fall well within the realms of tolerable com- *Mixing kit (even historically accurate kit) costume may, and probably should look care-
portray. We must check each item presents promise. Having in-authentic kit is no reason of high and low status within one outfit is not worn, but never un-cared for.
a consistent picture when used with all our to be embarrassed as all kit is in-authentic to acceptable, you should present a coherent
other kit, both as an individual and as part of some degree, Not knowing why your own kit is look relevant to one particular social rank. *Attempting too much in too short a time; aim
a larger society. Collectively we should aim to in-authentic is a serious problem. If you don’t to do a little to a high standard rather than a
portray the representative, not the unusual. know why an item is in-authentic, how can *Ideally we would want the lower ranks lot to indifferent standards.
So, if shopping for kit, or if making your own, you improve it, and how can you be sure it is dressed in pale greys and browns to be the
always start by asking would this item or mate- authentic enough to meet your group’s stand- most commonly seen on site. However, re- *TAKING IT ALL TOO SERIOUSLY AND
rial have been readily available to the charac- ards? Surely it’s better to keep asking ques- enactment events are always a riot of colour FORGETTING WE SHOULD BE HAVING
ter I am portraying. Only if the answer is yes tions to improve your knowledge and under- as everyone tries to play the very rich. People FUN. NOBODY IS PERFECT SO DON’T
should we contemplate making or acquiring standing, than to rush out and waste your own should consider taking it in turns to play the MAKE YOURSELF MISERABLE TRYING
any piece of kit, doing our best to keep our time and/or money on something your group rich, this way the rare and elaborate stands out TO RIGOROUSLY FOLLOW EVERY LAST
reproductions as accurate as we can. may have to prevent you from using. rather than looking ordinary and common. RECOMMENDATION TO THE LETTER.

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