English Hood Tutorial

[@wrong_thyme_old]

in conclusion: pins are magic

[@muniraragina4342]

Wonderful. I have always been intrigued with Tudor ladies head wears. Thanks for explaining it so extensively.

[@clare5one]

Excellent. Now tell Hollywood as they never make these correctly. I have subscribed.

[@sandysausages9505]

The travel aspect of it and the unfolding of the box bonnet, my mind is well and truly blown I can’t believe how inventive the construction is! You’ve done an amazing job such a well researched and informative video thank you!

[@loveoffthedamned]

Wonderful video. I`ve always been curious about the structure of this really strange but awesome headwear. Now I know and it inspired me to try making one too. I personally like it more than the French hood. I think it`s more regal.

[@UnikAAAsmykker]

This video was created as an appendix to an article "From Hennin to Hood" on the evolution of ladies' headwear from the medieval hennin to the French hood and the English hood respectively with more focus on the trail leading to the English hood. The patterns for this experimental reconstruction of an English hood is part of the article which is currently being considered for publication by the international journal "Medieval Clothing and Textiles".

[@thechronicplanner2284]

Was the article published? I'd like the pattern she mentions.

[@UnikAAAsmykker]

@@thechronicplanner2284 The publication of Medieval Clothing and Textiles vol. 17 was postponed due to Covid 19, but the new scedual says that it should be published in the spring of 2022.

[@UnikAAAsmykker]

The article is now avaialble in Medieval Clothing and Textiles, Vol. 17

[@GrumpyKitten375]

I love it! Thank you!!! Fantastic work! I hope you could do Anne of Cleve’s stickleshen cap in her portrait that Holbein did of her.

[@juliecain6397]

I ALSO WOULD LIKE TO SEE THE ANNE OF CLEVE'S HEADPIECE. ESPECIALLY HOW IT SUPPORTED SO MUST JEWELRY ON ONE SIDE WITHOUT BECOMING UNBALANCED. CAN'T WAIT TO SEE WHAT YOU COME UP WITH!

[@XenusMama]

@@juliecain6397why are you yelling?

[@maearcher4721]

Simply wow! I love it!!! It is the most accurate English gable hood I have ever seen. I love it so much! Especially because you say what each part of the hood is called and show how it can be stored for easy travel. That is such a nice touch! Do you think you will be making more tutorials about English hoods? I realize that hoods from the 1520s would be done almost exactly the same, but maybe earlier hoods? Elizabeth of York's? Lady Margaret Beaufort's? I've recently found on Pinterest some cross between hennin and gable hood, so I am really excited for the article 'From Hennin to Hood' to find out more about it, can't wait to read it.

[@UnikAAAsmykker]

Thank you very much for your kind words! I also find the trasitional hoods fascinating! The article "From Hennin to Hood" will be published in "Medieval Clothing and Textiles" vol. 17, 2021. My interpretations of the early gable hoods are explained in the article. Given the opportunity it would be wonderful to make more tutorials!

[@khimbalee5087]

Your reconstructions are eye-opening, for the gable and the French hood. Absolutely fascinating.

[@breeinatree4811]

I had been taught that the frontlet was separate from the hood. It was a strip of fabric wound around the head with the hood put over it.

[@UnikAAAsmykker]

I think it is extremely likely that the strip of fabric - as found in Italian Medieval paintings - is the origins of/inspiration for the English hood's frontlet.

[@maearcher4721]

She calls frontlets the part directly above forehead(those pieces of stripy fabric). From sketch of Margaret Tudor in 1500s i think at the time it was definitely separate, and sometimes instead of some fabric being twisted at that place, they wore coif underneath etc. But it is possible it was worn both as separate piece or as one piece. Fashion was rarely uniformal, with everybody sewing in exact same way. But i think frontlets originally refer to what she calls lappets. And those are definitely separate and changeable. Always were.

[@strunk12360]

Oh my, thank you so much for this video ❤

[@mariettetimmer2481]

Wow. Thank you very much.

[@Marie_Antoinette_18]

My headdress is so creative 😩💅🏻

[@lisalisa20907]

Your videos are fascinating. Please do more!

[@wolfhall7310]

There is atleast one painting that shows a gable hood and the striped frontlet being separate pieces.The said painting is an illustration of Troilus and Cressid,and shows the striped fabric tied like a frontlet around her forehead while her gable hood lies on ground.The painting seems allegorical,but the headwear is very period appropriate.Is it possible to make the Oreilette and frontlet as separate pieces?(your design is excellent,but the hood loses stability if I make the Oreilette and the frontlet separate and I can't use too many pins directly next to head.)Can you cite a source that confirms them being one piece,or did you make the Oreilette and striped frontlet one piece as a concession for stability?

[@UnikAAAsmykker]

Thank you very much for your comment and question! As long as no surviving English hood has been found there is very little proof of anything regarding its construction and the assembly of its separate parts. My experimental reconstruction is primarily based on what I have been able to deduce from panted portraits, preparatory drawings and funeral effigies. Written sources tend to avoid topics which would at the time be needless to explain. In my article “From Hennin to Hood: The Evolution of the English Hood Compared to the Evolution of the French Hood” I explain the reasoning involved in my experimental reconstruction. The article should be published in the 2021 volume of “Medieval Clothing and Textiles”. I have looked at the illustration for “Troilus and Cressida” you mention. Just like you say a fully assembled (minus the frontlet), three dimensional English hood is on the floor while the lady wears a striped headband with its ends crossing above her forehead. It is an illumination in a manuscript, and I would personally be extremely careful when it comes to regarding an illumination as a historically correct source. The illumination was created as an additional attraction to an exciting story, and the author could easily take a number of artistic liberties if they served a purpose. But until we can travel back in time and see for ourselves we cannot prove what is right and what is wrong; we can only speculate.

[@glamsky3257]

Gosh, hundred of pins!

[@irenejohnston6802]

See the difficulty for poorer women, if weren't given any 'pin money' or couldn't take it from 'the housekeeping' allowance.

[@cherylstraub5970]

Wow! just Wow!

[@AdesinaCat]

I need a handout to go with this. Has this been published and is there a handout to help with construction?

[@UnikAAAsmykker]

Unfortunately the publication of the article "From Hennin to Hood" had to be postponed due to Covid 19. It will appear in "Medieval Clothing and Textiles" Vol. 17 which should have been published in May 2021. The current date for expected publication is March 2022. You will find the pattern as an appendix to the article.

[@juliecain6397]

You didn't show the box construction very well. You left out shaping the box and in the dark velvet, I couldn't see it either. I have made one of these, and the box in the back is still a mystery to me...I would appreciate an example in a lighter color perhaps you might just show the shaping of the box and how that works.

[@UnikAAAsmykker]

Thank you very much for your comment! I'm sorry that you feel abandoned when it comes to shaping the box bag. You are right that it would be easier to see everything if it was done in a lighter colour. For now I can only suggest that you try to lighten the colours on your monitor.

[@Iceageonmars]

No wonder Court women needed someone to help them dress. All those pins around the wearers head makes it a dangerous piece of attire.