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Sleeveless surcotes - These were commonly worn from about 1300 (Fig 3). At first they appear loose and unshaped. By the middle of the century they became morę fitted, with some showing the cut-out armholes which developed into the sideless surcote (Fig 9). The deeply cut-away sideless surcote, worn over a kirtle, is one of the best-known medieval garments. It is often seen on effigies but was mainly for court and ceremoniał wear. The surcote went out of generał use by the early 15th century.

The skirts of the surcote were generally cut wider than for the cote and might be worn longer or shorter. Some 14th century peasant women, however, had long slits at the sides of their skirts, suggesting a narrower, morę economical garment, slit for greater ease of movement (Fig 3). The round or boat-shaped neckline, large enough to slip over the head, was often hidden by the wimple or veil. The wide, revealing necklines, shown on richer women from the 1330s, would have been matched on the cote beneath.

Materials

Outer fabric - Use wool cloth, choosing the ąuality to suit the wearer - thick and heavy for a warm, simple surcote, or fine and flowing for a lady. The ąuality should be better than for the cote beneath, sińce it is morę visible. Wealthier people might have a set, of cote, surcote and hood, madę from the same cloth. In the mid 14th century it was fashionable to make the two halves of the surcote in contrasting colours. The very rich might wear a surcote madę from imported patterned silk, or decorated with fine embroidery.

Lining - Use a lining of thick cloth or fur for warmth; or fine cloth, linen or silk for a neat inside finish, together with a flash of contrasting colour. If left unlined, apply facing round the neck and armholes or sleeve ends.

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Man’s sleeved surcote

Woman’s fashionable surcote

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