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A travelogue by Gregory Mele, with photos by Nicole Allen

Part of the great fun in designing reproductions and interpretations of historical costuming is, of course, the research. Like all historical costumers, we began with secondary sources, only to quickly realize that we needed to rely solely on those primary sources available to us: painting, illumination, sculpture, relief and the handful of surviving garments still extant. But once you have an historical clothing company you find yourself in the position of being an authority: our customers are trusting in us to make sure that our research isn't just good enough to dress ourselves, it's good enough to dress them. And this means that even high-quality color photos aren't enough; you have to see these sources with your own eyes and immerse yourself in the details to truly get a feel for what medieval artists were depicting. When you live in North America, that means you have to hop a plane and head to Europe.

Now, if it seems like all of this self-sacrificing in the name of authenticity was a good excuse for a vacation, you are absolutely right! So, we did just that: a whirlwind, fourteen-day tour of central and northwestern France in June 2004. We returned tired, with our eyes and minds full, but hopefully wiser. In this article, we'd like to share with you a few of the sights and research finds we came upon on our adventure.


Two flights and 11 hours later, we found ourselves in Charles De Gaulle Airport, Paris. We immediately found our rental car and fled the city for our first destination - Chartres Cathedral.

Cathedrals were medieval skyscrapers, and nowhere is that more obvious that Chartres, one of the largest and most famous in Europe. A small town built on high ground in the otherwise flat plains outside of Paris, this magnificent cathedral is in turn built upon the town's highest point. Thus, as one drives towards the town, the Cathedral's twin towers appear to thrust up out of the wheat fields like mountain peaks. It is miles before the shape of the entire structure, let alone the town itself, comes into view. The magnificence of the view instantly re-energized our travel-weary minds. One can only imagine the impact such a magnificent sight must have had on medieval pilgrims, used to their daub and wattle homes and small parish churches.

Begun in 1194, following a fire that severely damaged the original cathedral, principle construction on the present building was finished in 1230 and it was consecrated in 1260, although surface decoration, woodwork and steeples were continuously added until the 17th century. Due to the speed with which the new cathedral was built, it is amazingly homogeneous, and through its extensive decoration gives us a fantastic look at late 12th and early 13th century clothing, arms and armour. While this is hardly France's best-kept secret - photos of the Cathedral's sculptures have been produced and reproduced in many costuming history books - being able to see these pieces firsthand and take high-quality color photography revealed a level of detail that two or three grainy, black and white photos in a book never could.

A view of Chartres Cathedral as you walk up the hill from the town below.

A typical grouping of figures lining the portals.

One of the many portals, each completely covered in sculpture with wonderful examples of 12th-13th clothing.
A prime example of a 12th century pendant sleeved or scooped sleeve gown, worn with a cloak and double-wrapped belt.

Examples of men's tunics and undertunics, as well as a women's bliaut worn with a stomacher and double wrapped belt.

A look at the amazingly vertical interior of nave of the cathedral.

Detail of interior sculpture that is slightly later period than the exterior decoration (mid to late 13th century)- showing a back-laced gown, tunics, undertunics and cloaks typical of the period.

One of the original stained glass windows that line the side walls - another usual set of references to 'everyday clothes' of the period.

...The sheer size and detail of the cathedral means that researchers could easily spend a day photographing, sketching and taking notes without exhausting themselves. Alas, we had an afternoon, and had to slip out as they prepared for a wedding to be had that evening (lucky bride!), contenting ourselves with the church exterior and wandering the streets of town. The town of Chartres itself is a wonderful village that retains much of its medieval character, and is worthy of exploring in its own right. For us, the challenge was working it all into one afternoon and early evening. By the time we left for the Loire Valley that night, the sun was already well on its way to bed.

A wonderful 14th century building where we ate dinner that evening - the proprietors told us that the building had functioned as a store and later a restaurant for over 500 years!

The Loire Valley

Having wistfully bid farewell to Chartres, we prepared to spend the next several days in France's Valley of the Kings, so named for the many castles and chateaus that still line the banks of the Loire. While many of the medieval castles now lie in partial or complete ruin, their names, and those of the towns between, are heavy with history, such as Amboise, Angers, Samnur, Orleans, Chinon and Blois. A journey through the Loire Valley is a voyage through the graveyard of the Middle Ages, the glory of the Renaissance and the excess of the French Enlightenment.


Cheverny is a small, 17th - 18th century chateau that is almost unique in France, for it is still owned by the same, noble family. Well-loved by their peasants, they were protected by them during the Revolution, and thus spared execution. Today, they still live in the upper floor of their ancestral home and support themselves through tourism and raising prized hunting hounds. (The feeding of this hundred plus pack by the master of hounds is a daily spectacle not to be missed.)

A shot of one wall in the small, but impressive, armour gallery. Many of these pieces have belonged to the family since the 16th century.

Detail of the hilt of a very nice and very substantial complex-hilted rapier.

Detail of the leg harness of a Maximilian-style suit in the armour gallery.

Greg and Nicole walking the grand path to the entrance of Chateau Cheverny.

The entrance hall of the chateau - the ceiling is painted and the walls are covered with tooled and painted leather.


Detail of an original polearm haft and butt cap that we liked, because it impressively preserved the detail often lavished on these simple weapons.

The Master of the Hounds feeding the pack their daily ration of kibble and raw chicken.



The next day we visited the royal hunting lodge of Chambord. Sitting in the middle of Europe's largest wild game preserve, Chambord is almost impossible to describe; it is a castle out of fairyland. Built for the ambitious Francois I in the early 16th century in the form of a fairytale castle, he only spent a total of thirteen days there during his long reign, although the chateau became a favored retreat amongst many of his successors. Begun in 1519 and completed a century and a half later, it was a massive undertaking; in 1533, the completion of the keep cost 444,570 pounds or 1% of the kingdom's annual budget. Chambord is filled with wonders, from its numerous, slate-tiled spires and domes to the double-helix central stairwell, the first of its kind, reputedly designed by Leonardo Da Vinci. A supposed place for many a tete-a-tete, it is actually two separate staircases intertwined so that a person going up one side can see another going down the other staircase but will never meet.

Looking up through an archway of the courtyard to one of the countless exterior stairway/turrets.

The bed chamber of Louis XIV.

The colossal chateau of Chambord - described by the tour books as 'the skyline of Constantinople on a single roof'.

The famed double helix stairway in the center of the chateau attributed to Leonardo DaVinci, and a view from the staircase.

A portrait of Chambord's founder, Francois I - showing a great example of French Renaissance costume
L: Looking down from the roof to the moat. R: Nicole enjoying the view from the roof.
A 17th century map of the entire estate of the chateau.



On the way home from Chambord, we stopped at the far more modest chateau of Fougeres-sur-Bievre. Originally built during the 14th century, the castle was largely destroyed during the second phase of the Hundred Year's War, and became the rather shabby inheritance of a young noble woman in the court of the Duke of Blois. During the early years of the 15th century she successfully renovated and rebuilt Fougeres-sur-Bievre, which survived the succeeding centuries and the French Revolution, even when its noble family did not. The chateau passed into the keeping of the attached town. After serving as a work house and factory in the 19th century, in the early years of the 20th century the town determined to restore the castle to its former glory, and it is now a historical attraction that gives a nice look at the living conditions of a minor French lord during the late Middle Ages.

A wonderful demonstration of the layers of daub-and-wattle construction used on this building and all through medieval building construction.

A room that shows the timber part of the construction.

A smaller, but still imposing exterior.

A tower room showing the room support.

A room with a fireplace and paned windows.                                                                                  A beautiful period chest.

Looking down the narrowly spiraling staircase

Looking up the staircase at the circular support of the roof.

The attics



The ruins of Chinon Castle - the location of Henry and Eleanor's famed Christmas court that is the subject of the movie (and play) The Lion in Winter.

Now in ruins, the royal castle of Chinon has been tied to a number of great and infamous deeds of the Middle Ages. The honeymoon suite of Henry II and Eleanor of Aquitaine, it was the birthplace of the future Richard I (the Lionheart). In the early fourteenth century the castle fulfilled one of its grimmest functions as a prison of the Knights Templar, including Jacques de Molay, the Order's last Grandmaster, whose name can still be seen carved in the wall of his cell. A century after that, a certain young Maid named Joan appeared at Chinon to implore the Dauphin to take up the crown and the French cause against the English.

For a castle with so much history, it was truly tragic to learn that most of its ruin is not to be blamed on the Revolution (although it played its part), but upon its last noble owners, the Richelieu family, who intentionally allowed it to decay after it came into their possession for no reason other than revenge, as Chinon had long overshadowed their own hereditary keep. Nevertheless, these old bones still look down upon their lands with an undeniable majesty.

L: The moat and gate. R: A fragment of an original wall showing two stories with connecting fireplaces that share a chimney.

A reconstruction of the castle in its hey-day.

A reconstructed room in the castle decorated much as it would have been when it was in use.

A reproduction of a period piece depicting Joan of Arc confronting the
Dauphin and showing nice examples of 15th century clothing and Armour.

L: Inside the first floor of the tower with the missing roof. R: A lower chamber of the tower prison.

This grim tower was converted from a storage silo to the prison of Jacques de
Molay, Grandmaster of the Knights Templar, until his final trial and execution.



The great abbey of Fontrevaud was the final home of Eleanor of Aquitaine, who retired their as abbess in her final years. The final resting place of Eleanor, Henry II, Richard I and Isabelle of Angoulème (wife of John I), the convent church is oddly stark, comprised largely of plain, white stone - a result of the extensive restorations required after years of abuse; first in the Revolution, then in the generations it served as both a prison and a home for incorrigible women. While the effigies are famous, both for whom they represent, and as sources for late 12th century clothing, even with its damage and restoration, Fontrevaud as a whole is a rare glimpse into the sheer size, power and complexity of one of the great monastic houses of the High Middle Ages.

One of the exterior galleries of the convent looking out to the garden.


The church front, now heavily restored.

A detail of the wonderful door ironwork on the church

The bare interior of the Romanesque church, a victim first of the French revolution and then decades as a prison and a women's work house.

A fragment of the original wall painting in the church depicting the
bottom of figure of a knight and showing his surcoat and chauses.

Above: The tombs of Eleanor of Aquitaine and Henry I Plantagenet clearly showing clothing typical of the late 12th century

Below: A detail of Eleanor's effigy showing her barbette, veil and the quatrefoil pattern on her gown.

The massive, circular kitchens with their several chimneys.



Traveling west from Fontrevaud, we had time for a brief visit to Angers, seat of the Counts (later Dukes) of Anjou. Famed birthplace of the Plantagenet family, it was also the home of the 15th century nobleman, poet, author and tournament patron, Rene d'Anjou, King of Jerusalem (for whom a large statue stands in a nearby street intersection). Upon seeing the imposing castle of Angers, it comes as no wonder that it never fell in battle or siege; even with its 13th century towers cut down by twenty feet the walls of this great chateau simply dwarf the castles of Chinon or Samnur. Angers is also home to a unique treasure: the Apocalypse Tapestries. Commissioned by Louis I of Anjou in 1364, and completed in 1382, this amazing collection of 76 tapestries collectively represented the largest surviving tapestry from the 14th century and is an invaluable source of reference for clothing of the period.

Wandering away from the castle and into town, we also came upon the cathedral, which was another 12th century work that continued to grow and expand over the centuries that followed. While not of the size and scope of Chartres, its statuary also provided a number of wonderful sources, many reinforcing the examples found at its better-known sister to the north

The impregnable castle of Angers and its moat. The moat was never filled with water but kept the Duke's menagerie. This is also the home of the famed Apocalypse Tapestries.

The largest daub and wattle structure we saw in our travels - very striking!

The intimidating gate.

The Tapestries of the Apocalypse in all of their glory.


L: A detail of the panel showing 'The Dragon fights the servants of God, Revelation XII'. This panel shows wonderful examples of cottes, hose, low shoes, a liripipe hood with the tail wrapped around the head to keep it out the way, a short-tailed, dagged hood and a green, quilted gambeson.
R: A detail of the panel showing 'The Great Whore on the waters, Revelation XVII'. A really nice depiction of a backlaced gown with front clasp style of belt decorated with rondel findings.


L: A detail of the panel showing 'The Great Mounted on the Beast, Revelation XVII'. Another depiction of a backlaced gown, this time with a repeated pattern of flowers in a thistle-like shape. She also wears a 'turret' hat decorated with jewels and pearls.
R: A detail of the panel showing 'The Sixth Trumpet: The Angels of the Euphrates, Revelation IX'. This panel has detailed depictions of plate and maille armour, a button front cotte, liripipe hoods, tunics and a plaque belt.
L: The Cathedral of Angers. R: The transept, covered in sculptures like its counterpart in Chartres.

A detail of the exterior figures showing a woman dressed in bliaut worn with double wrapped belt.
L: A detail of exterior figures showing some nice examples of medieval armour. R: The cathedral's interior.

A medieval painting on a panel, showing some good examples of 15th c. clothing.



Leaving the Loire Valley behind, we turned north and raced across the French countryside to the border of Brittany. Brittany (Bretagne) is a land apart, with its own language (Breton, a Celtic language related to Welsh) and customs. It also has its own unique beverage, an amazing dark cider that came in more variants and varieties than we could keep track of. The capital of medieval Brittany was the walled city of Dinan. Although the Counts of Brittany began as English allies during the Hundred Years' War, Dinan gave birth to a hero often credited with preventing Edward III and his son the Black Prince from completing their conquest of France - Betrand du Guesclin, a common born guerilla fighter who went on to first be knighted and ultimately become the marshal of France. While his heart is buried with the other marshal's of France in St. Denys in Paris, du Guesclin's heart is buried in Dinan, and to this day the town places flowers at its tomb on his birthday and the anniversary of his death.

The castle of the Counts of Brittany is largely gone, reduced to the donjon, which now stands as a lonely sentinel with a half-open drawbridge leading nowhere. Today it is a small museum, below which is a rather dank, leaky crypt, which the museum lights for maximum moodiness. Most visitors skip the crypt (and our tour books said to skip the entire museum), but for we medievalists it was a real treasure, containing several detailed, and reasonably intact, funeral effigies from the 13th - early 15th centuries. With the dim light, getting decent research photos was no small task, but we persevered.

While its keep has been reduced to a single tower, Dinan remains a walled town, and it is possible to range along those walls to the several gates which still are the only routes allowing access to the old town. Near the keep is the square of Du Guesclin, which is cleared every Wednesday for market, just as it has been since the early 14th century. With limited car traffic, wandering the narrow, cobbled streets of 14th, 15th and 16th century buildings lined with heraldic banners it is simply impossible to not play tourist to the fullest and allow one's self to picture the city as it was centuries ago.

The medieval walled town of Dinan in Brittany



Since taxes were based on the footprint of a building, medieval town buildings grew wider in successive stories….

… nearly touching at their eaves.
L: The hero of Dinan - Betrand Du Guesclin. R: A detail of his armour
1: The walk along the top of the walls. 2: The view down from the top of the walls. 3: The town below the walls, along the river.

The old donjon, all that remains of a once much larger castle.

The stairs down to the crypt below the donjon.

Effigies in the crypt - the far one shows a full suit of late 14th century harness.

An earlier effigy shown wearing a maille hauberk (complete with maille mufflers for the hands) and chauses.

An effigy of knight and his lady - she is wearing a snug cotehardie with tightly buttoned sleeves and a sideless-surcoat.


Mont Saint Michele

Mont St. Michele as you come up from the man-made causeway.

Crossing from Brittany into Normandy, a short turn north leads out onto a long, narrow causeway juts out into miles of salty mud flats that fade into the English Channel, beyond which lies a small rocky island. On this island, which has been a religious sight since the late Neolithic era, is the famed monastery of Mont St. Michele. There is little that can be said about this place, which has been hermitage, monastic powerhouse, fortress, prison, and tourist attraction through its long history; it needs to be experienced. All of the kitschy stores filled with useless knick-knacks that line the single road spiraling up the rocky slopes do not take away from the place's majesty, nor do the more gothic than gothic 19th and 20th century renovations and restorations (including the famed statue of St. Michael that adorns the highest spire). Standing atop the monastery's walls, looking out to sea, and watching the tide come in with the speed of galloping horses (horses must have been slower then, nevertheless, five miles of mud flat fills in under an hour) is simply magic. As a stop along the way for costuming researchers, Mont Saint Michele was largely irrelevant. But as tourists, let alone medievalists, it was mandatory.

Nicole and Greg making the last leg of the climb up to the church.

Another one of the common rooms of the monastery that was used as a scriptorium at one point.

The pinnacle at the top of the church.

The tip of the steeple appears above a very medieval wall.

One of the common rooms below the church.

The tide coming in as seen from top just outside the church.



Leaving behind the magic of Mont Saint Michele, we drove the rest of the afternoon to Paris. A magnificent, fascinating place in its own right, it is a decidedly un-medieval city. Historic Paris is a city that the Enlightenment built, and both the Terror and Napoleon redecorated. Nevertheless, if one knows where to look, such as the breathtaking beauty of the 13th century Saint Chapelle or the famed Cluny Museum, glimpses of medieval Paris can still be found. After all, the old wall and foundations of the 13th century keep were literally discovered in the Louvre's basement; how more hidden can you get?

Notre Dame

The Revolution was particularly unkind to Quasimodo's famed home; after sending a number of the altarpieces (and according to legend, the altar itself) to the bottom of the Seine, the cathedral was declared the Temple of Reason. Since it turned out that no one had much use for a Temple of Reason, it then became a stable. It was only because Napoleon Bonaparte chose it as a coronation site that the Cathedral rose from its ignoble fate. As a very early example of Gothic architecture, the stained glass windows are high set and cast very little light into the nave. This may be just as well, as it obscures the cartoonish medieval artwork painted on the walls by the study of Viollet-le-Duc in the 19th century to replace the original artwork that was lost. The real highlights of Notre Dame lies in climbing amongst its famed rooftop gargoyles, and for costuming mavens, in one of the relics on display in the treasury - the 13th century undershirt of Saint Louis!

L: The St. Louis shirt - it was very surprising how long it was and generously sized; really more of an undertunic than a shirt. R: A detail of the shirt - showing the frayed hem and gore.

Notre Dame on the Il de Cite - an island in the middle of the river Seine, and oldest part of the city.

Another detail of the shirt - showing the bound 'V' shaped neckline and the unique 'X' finish binding at the point of the 'V'.


The Cluny Museum of Medieval Art

Finally, we come to the wonderful Cluny Museum, built in the ruins of the famed abbey of the same name. The Cluny is considered without peer in the variety and depth of its collection, and a simple walk through (were such a walk through possible), demonstrates why. We lost most of a day in the Cluny, and would have been there longer, if time wasn't pressing.


A 15th century tapestry with beautiful examples of early Renaissance clothing

The inner courtyard of the museum

An amazingly intact pair of late 12th century polychrome (painted) wood sculptures depicting cloaks and clothing typical of the period. The man in wearing a long sleeved undertunic and supertunic with a ¾ length sleeve and wide bands if trim or embroidery.

14th century embroidered cloth of si
lk, silver thread and pearls , probably originally a part of a horse trapper, converted into a chasuble in the 18th century

A rare extant 14th century stocking said to have belonged to the archbishop of Bayonne. It is made of a variegated silk brocade, depicting eagles and antelopes, that was woven in the 13th century, and made into a stocking in the following century.

A 15th century tapestry depicting the grape harvest - of particular interest to us are the men (like the one in the center stomping grapes) wearing sleeveless pourpoints.

An extant piece of 12th century Spanish Silk Brocade from the shroud of St. Sernin of Toulouse, showing medallions in alternating red and yellow depicting peacocks and a stylized a palmette. The palmette is a common motif, often repeated in medieval textiles.

Extant medieval shoes

A pair of late 14th c. St. Georges' Pilgrims Badges.

The incomparable 'Lady and the Unicorn' tapestries

Several extant early medieval buckles and findings, including a beautiful 6th century plaque from a belt decorated with enamels.

A 14th century silk alms purse embroidered with centaurs wearing clothing of the early part of the century, including tunics with a slightly flared, ¾ length sleeve and front slit, linen coif and short tailed hood

Two leaves from two 15th c. illuminated manuscripts showing nice examples of 15th c. harness.

The modest arms and amour display, with a rare, excellently preserved, pig-faced bascinet, likely from the close of the 14th century.

Paris held a few more wonders and lucky finds, not least of which was the Paris: 1400 special exhibit at the Louvre, which we happened upon by mere chance. I've never seen such an extensive special exhibit, which combined illumination, sculpture, metal work, enamels and ceramics in an amazing display (who would have thought to see four copies of the Duc de Berry's Hours all in one case?). Alas, this was one area where photography was strictly forbidden and the ban rigidly enforced. Thus, while we bought the extensive catalog for our library, we regret that we can't share those sights with you. After Paris, it was time to return home.


For the medievalist, France was an interesting journey. For a land so central to chivalric culture and so dominant in medieval history, many of the artifacts and locales of the period we love are badly scarred by the rage of the French Revolution. Especially in Paris, the researcher sometimes needs to squint and cock their head to imagine things as they might have been, while in places like Chartres Cathedral it seems as if the Middle Ages never ended. Besides an amazing vacation, this was a trip with a mission - to better immerse and educate ourselves in the material culture of the Middle Ages. Many of the things we saw and documented have already found their way into our designs, especially the 12th century line, which had begun design months before we left, but was already refining in the car-ride from Chartres Cathedral, and it was a delight to see many things we had already done be confirmed time and again, in new sources.



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I deeply appreciate the Gaston Phebus line.  I wear it frequently (average 2x / wk these days) when pursuing game with longbow, crossbow, spear, javelin and hawk.  I have been wearing elements of the Gaston Phebus line when taking elk, boar, rabbit & squirrel in the last 12 months.  I have recommended the clothing line to a number of fellow medieval hunting enthusiasts.  The Gaston Phebus line has held up to some pretty heavy hunting abuse.  I've been through shoulder high brambles innumerable times that have pulled a few threads, but I remain exceedingly pleased with the performance of the clothing in the field for its intended purpose. Primarily, I wanted you to know how greatly I appreciate the research you put into your products, and the quality of the workmanship.  I regularly put the wool Gaston Phebus full wardrobe through intense field abuse and it has held together better than ANY comparable product I have purchased anywhere in the last 20 years.

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Dear Revival Clothing Last year, you kindly gave me permission to use your models and costumes as references for part of a pastel painting I was working on.  The painting is finally finished, and I thought you might like to see a scan of the end result, which I have titled 'Champion of Warwick'.  I added a few more figures to my original design and I think they have made a nice colourful crowd and added to the atmosphere. I'll be submitting the painting for the annual exhibition of the Society of Equestrian Artists at the Mall Galleries, London, in July, and will also be producing a limited edition of prints of the painting. Many thanks for your kind help.

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Alberta, Canada

Dear folks at Revival Clothing Awesome! I received my shipment today...on my birthday!  Took less than 3 days...thank you. I'm very happy, I love everything.  Now I'm ready for the Selohar gatherings.  Now I must buy more. Thanks

Todd Sullivan
Sandy Creek, NY

I received the new linen gambeson, and it fits wonderfully. There is no restriction of movement, and it's much lighter then my old cotton gambeson. I absolutely love it. It looks fantastic also! You guys are a true artists.

Have a great day,
Tom Pfister

Des Plaines, Illinois, USA

Hi, I just received your linen gambeson and it fits like a glove and the gloves fit as well. The quality and speed of my order was very impressive. I am extremely satisfied. Thank you all so much.

All the best,
Peter C.

British Columbia, Canada

I received my Linen Gambeson last Friday and I could not be more pleased ... It is a beautiful piece in it`s own right and will function perfectly - it seems to fit like a glove - plenty of room for movement , yet form fitting under the armor - And the sleeves are long enough! Once again I am impressed with your courtesy and professionalism ... Thanks again and all the best for the new year!

Tim Mathews
St. Paul, MN

Saw you guys at Pennsic and was impressed. I love the look of the 14th century and you guys capture it well.

Joe Farley
Alabama, USA

It just arrived today :) All I have to say is, wow, that is a gambeson! It fits perfectly...and it has that solid feel to it that definitely reminds me of the fact that often they were worn as the only armor. Thanks again!

Robert Zamoida
The Historical Martial Study Society
Waldorf, MD

Hi Nicole, I am touched by outpouring of support from so many folks in the WMA community. Thanks so much for your generous donation. It will be much used and appreciated by all of us in our training group here.I will be sure to send you some pictures of us training with your gambesons when they arrive!

Thanks again,
CW3 Jeffrey Larson

82nd Airborne”
Read more about medieval swordsmanship in Afghanistan...

I just wanted to let you know that I received my order and everything is beautiful!  Very nice workmanship and quality of fabrics!  I'll be all set for my trip to the summer faire at Camlann Medieval village.  I already had full wardrobes for renaissance faires and pirate events, but didn't have anything correct for the 1376 setting at Camlann and these pieces will work beautifully.  Thank you so much.

Ragan Zessin

Recently my wife ordered for me the green wool hood/chaperone.  WE both love it.  It fits and looks great!  I am a BIG guy at 6' 5" tall and it looks appropriate.  It was a pleasure to deal to do business with you and we will order again.  I am definitely interested in upcoming 15 century clothing and  I am hoping you will offer them in bigger sizes.(nudge nudge wink wink;) I have attached a pic of me at the Bristol Ren Faire so you can see your work in action. Thanks again,

Randy Cieszynski
Bourbonnais, Illinois, USA

Just a quick word to say a very big thank you for: your very prompt and efficient dispatch of orders, the quality and look of your products, and for being there. After 21 years of 17th/18th century re-enactment in the UK & Europe I wasn't sure how easy it would be to re-equip myself for the mid 14th century out here in New Zealand. You've made it immeasurably easier and it's been a real pleasure doing business with you. I look forward to making further purchases over the coming months & years.

Mark Godwin

I tested my new linen gambeson yesterday in combat. Your design is perfect for sword fighting. The garment provides a good fit, yet provides complete mobility of the shoulders. I also received many compliments on its aesthetic and period qualities. I especially like the breathability of the linen fabric. Thank you for offering such a fine product.

San Francisco, CA

What a brilliant site this is! The hat is actually for my wife - we do intend to go to the biennial medieval fair in Dinan, France and use the hat for its intended purpose. We went 4 years ago and resolved to return but wearing medieval costume.

Tony C.
Rutland, United Kingdom

I purchased a full wardrobe from Revival Clothing and have recieved nothing but praise for my garb. I am new to the SCA and my major concern is chivalric fighting. But my tunic ensemble is great for court and feast and the revelry that generally follows.

Chris B.
Bishop, Texas, USA

The tippets and barbette arrive in record time! I was able to use the barbettes to show a lady who despaired of ever keeping a veil on how to use 2 barbettes (one around the face, and one around at high forehead level) to fasten a veil so it needed no fussing all day long. I got two just for this purpose, as gifts to her. (And, when asked where I got the gown I was wearing, the back laced dark green raw silk, I of course gave y'all the credit. several people piped up that your goods are really first quality. So -- fame to you!) Again, my thanks.

Pat M.
San Diego, CA

Dribbel just received his black ankle boots today and he adores them to the point of being a little creepy! Thanks so much for the speedy service. I was expecting them to arrive later in the week.

Lynn D.
Grand Rapids, MI

The order has arrived and I am impressed by the quality of your goods. The shoes and silk chauses were also of a perfect fit. I have taken the liberty of advising your clothing line to a colleague of mine: Jan Braem, also council member of the Hallebardiers.

Yours Sincerely,
Dr. Stefan Sette
Council Member Hallebardiers

Saint-Michael Guild Bruges since 1444

To all involved at Revival Clothing, I recently purchased a pair of your ankle boots and I'm quite pleased with them. They are comfortable and very well made. I even use them for every day use. In this instance I dislike to use the term "replica" or "reproduction" because they are in fact NOT such things. In the middle ages and the renaissance period, the material used was known to them. The difference being the tools used to make your product and the era of time we are now in. Back then clothing was usually made for the person purchasing the garment and it would not have mattered to the average person of those time periods in how their clothing were made, weather by hand or machine. Hence the Renaissance, then the industrial revolution, to modern day, and beyond. It is good to know that people are still interested in the "old" fashions and not letting them be forgotten.

Leon Majors
Victorville, CA USA

I tested my new linen gambeson yesterday in combat. Your design is perfect for sword fighting. The garment provides a good fit, yet provides complete mobility of the shoulders. I also received many compliments on its aesthetic and period qualities. I especially like the breathability of the linen fabric. Thank you for offering such a fine product.

San Francisco, CA

I just received the linen gambeson and have had a chance to try it on.  Wow.   It’s basically perfect in every way!   It fits really well, and the long sleeves don’t bother me at all, nor do they get in the way of my 15th century gauntlets.  This gambeson has exceptional mobility and it breathes so well I can wear it for quite a while without discomfort.  I’m in love with it.

Mike Edelson
Brooklyn, New York USA

The gambeson is working beautifully. I've practiced and fought in it many times now and I am very impressed with the mobility and comfort of the garment. It's going to be an ideal foundation for my future armour purchases: I plan to build a 13th-14th century harness around it.

Sean Hayes
Maestro d'armi

Northwest Fencing Academy
Eugene, OR

Greetings!  The gambeson just arrived today and it fits really nicely, especially considering that it's "off the rack." Sir Brian's recommendation told me I had found a good choice, and the special sale price helped with my decision too. Thanks!

Steve Gaddis (Master Sir Khaalid, SCA)
Sparks, Nevada, USA

Hello! My package just arrived safely. Am LOVING the dark green bliaut. The color is jaw dropping. First bought one 2 years ago.In case anyone asks, the silk does dye nicely (with professional silk dye - Jacquard brand was used) - turned the teal into a jewel tone blue, with no problems. Thought best to let you know.

Best Regards,
Christina B.

Seattle, WA

Thank you very much for sending my Linen Gambeson. It is an extremely good fit - I'm very impressed and would recommend it to anyone. Also impressed with the rapid service!

Richard Taylor
Walkerburn, Peeblesshire, Great Britain

I've just received my surcoat in the mail today--it is so much better that I expected, and I really expected high-quality stuff, so this is AWESOME. I'm very happy with it; it is really beautifully made and fits me very nicely. Thanks again!

Rivkah M.
US Military Personnel stationed in Naples, Italy

I am just starting in the SCA. Your products are by far the most reasonably priced and authentic looking. The web site is great!

Chris Brook
Henderson, TX

LOVED the shoes.  Danced in them all night, no insoles, no problem.  Never been able to do that before with period shoes.

Ottawa, Illinois USA

Dear Revival Clothing, Thank you for the pleasant conversation earlier. I most certainly will recommend your clothing to our friends. We received many compliments about how well we were attired. In addition the clothing was very comfortable, and the linen makes very comfy pajamas, as they wick away moisture at night. I would have to say that I favor this clothing the most out off the extensive collection of outfits I own. I cannot thank you enough for making us look so good.

Eric and Tabatha Blacksmith
AKA Wolfgang von Bremen and Juliana MacPhearson
Baron and Baroness of Glymm Mere, An Tir

Foundation garments like the gambeson are critical to the comfort and functionality of the complete harness. Particularly in the joust where even minor problems with how the harness fits and functions will affect the rider's ability to function safely and at the best of his or her ability. The Revival Gambeson performed flawlessly.

Callum Forbes
Order of the Boar

Greetings - we always appreciate knowing all is well.  So I want to say my lovely dress arrived Saturday .....  07/07/07

Very happy,
Barbara Fleig

I just received the 12th century prick spurs yesterday.  The prick spurs themselves are so historically accurate it is unbeliveable!  I just wanted to drop you a line of thanks for offering such a great product that no other internet site can match!  Now I know that I will be ready for next years Ren-Faire! The great thing about your website and the products that you offer is that there are few people in the world that deal strictly with Medieval period clothing.  As a knight in training-you have my blessings! Keep up the good work!

Thanks, Erik Fiske
Poughkeepsie, NY USA

Thank you, thank you, thank you! I found my clothes waiting for me when I came home on leave from Afghanistan, and I have to say I was stunned! I can't tell you how fantastic I feel! Everything fits, everything looks superb, and for the first time I'll be going to events in something historically accurate. If anyone reads this, just stop reading and go buy something here! You cannot go wrong! Nothing short of the energy death of the universe will prevent anyone from enjoying these clothes AND getting a good deal in the process!

SGT John Steinke
Company A
3rd Battalion
141st Infantry

I am writing to comment upon my first Pennsic with my new Revival Clothing Gambeson. When I first received the garment, I was concerned that in the heat of Pennsic Battle that I would overheat in such a heavy and thick garment. Being from Canada my friends and me all commented that the gambeson had the weight of a winter coat. Normally not the sorts of things that we wear on a hot August day. I was pleasantly surprised to find that the gambeson was very comfortable at all times that I wore it. It was so comfortable even on a hot day that I wore it after fighting to walk about the merchant area before I showered and dressed for the evening. The best test was on the last Friday of Pennsic. It was the day of field battles and I had to fight in six battles that day. I later learned that the temperature was around 100 F (38 C). I found the garment comfortable and I never noticed its weight in the heat or during my fighting. The garment allowed me a full degree of motion. Truly, it is a wonderful garment. The only problem I did have was removing it from the cuff of the sleeve was sometimes hard due to swelling of my arms from the heat. Fortunately, this was a minor problem.

Andrew Lowry
SCA THL Richard Larmer

Finally a pair of reasonably priced, period appropriate shoes!! Footwear is the hardest thing to find when costuming oneself; it can be very frustrating to have to resort to hiking boots or whatever to finish a costume. I was so happy to open the box from revival and find these very cool shoes that will provide a supreme finishing touch to my costume. By the way, during my presentations to grade four kids, they have asked to see my footwear! Thanks loads!

Katy Gillett

I want to thank you for such prompt service, and tell you how glad I was to find you. I am new to the WMA world, and initially only wanted to find protective garments for use in longsword bouting. I did a thread search on Sword Forum International, and your company was recommended frequently there. As I browsed your site, I was amazed to find that I could not only obtain the protection, but period correct protection! Unfortunately for my woefully thin wallet, my search has now transformed into a quest to eventually outfit both my son and I with period kit. I look forward to a long and fun relationship.

York, PA