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The Luttrell Psalter Film

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Luttrell Psalter Clothing

The Luttrell Psalter clothing is being researched and made especially for the project. This is being done by Pauline Loven and part-financed by her business The Orchard House Wardrobe. The firm Loven, Patents and Trade Marks, has provided the project with a work room.

Luttrell Psalter Costume Team

The Costume team: left to right; Katy-Jayne, Jo, Pauline and Sam

Thanks to the extra space, Pauline now has room for assistance. Jo Sullivan , a graduate of Heritage Studies at Bishop Grosseteste College, has been working with the project from the beginning. Katy-Jayne Lintott, an undergraduate on the same degree course, has also joined the team. Sam, who is an experienced theatre designer, is helping out while gaining experience in making  medieval clothing.  They are all volunteers and working without pay.


Luttrell Psalter woman mill
Luttrell Psalter Jug woman

The period over which the Psalter was created 1325-1340 (aprox.) was a period during which the cut of clothing began to change.

Since textiles were first created clothing was made by first tying, then pinning, then sewing rectangles of fabric together. The value of textiles was such that when they were cut to form a garment they were cut without waste. This was achieved by using simple geometric shapes - rectangles,  triangles and squares ingeniously pieced to create fit and fullness.

Left: The old lady on the left is wearing one of the simplest of the Luttrell garments. The sleeves are close fitting, but otherwise the garments are fairly loose. The sideless surcoat is the simplest shown in the Psalter. As with all the Psalter images, no seams are shown.

As a result of not being able to determine the position of seams, we have had to look to archaeological and other evidence.

Left: My initial interpretation of this dress was to make it without any armhole shaping, much as earlier garments were made, but it simply didn’t sit and fall correctly. By studying all of the available evidence, followed by testing trial garments for the correct fit and drape, we decided that the cut of the garments was probably transitional. Each having features of the early cut, but with some fitting around the armhole.

In fact, the radical change in the cut of dress in this period begins with the armhole; instead of fitting sleeves T-shirt wise, they begin to fit the sleeve closer to the arm and into a shaped armhole. This frees the arm movement and allows the arm to be raised without the garment pulling up. As a result, garments could then be tailored to fit the figure.

So, after studying archaeological evidence,  tomb monuments (which do often show seams) and comparing them with the Psalter illustrations, we decided to make most of the women’s clothing in this transitional cut - with fitted sleeves into a simply shaped armhole, but with the remainder of the garment formed from the rectangles and gores with some limited shaping.

No means of fastening is shown on any of the dresses and indeed most clearly simply slip over the head. However, the dress below is a clear exception. It is fitted so closely to her figure that it must include sophisticated tailoring and must be laced down to back to achieve such a tight fit.

Luttrell Psalter Spinning wheel

Above: She is also the highest status figure that we will be including in the film. Apart from her dress being finely tailored (which is very wasteful of fabric), she has an excess of fabric about the hem of her dress which pools on the floor about her feet. Her fine white linen apron also has the most detailed stitching of all the aprons shown in the Psalter (there are five in all with four different designs).

Pauline Loven

 An immaculately fitted garment such as the purple dress above, would have been made for the individual (rather than by her) and fitted to her figure. Above: Pauline interpreting the cut based on archaeological evidence and the fit and drape of the Psalter illustration.


The Question of Colour

More about the textile colours in the Psalter

OHWCOLOUR - SMALL04

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