15th century Bourrelet (Escoffion)

This heart-shaped headdress was a version of the Escoffion with a padded roll, worn by noble women in the 15th century across much of Europe.

I enjoy making 15th century headwear with all it’s crazy variations, so I was well pleased when Magdalena requested this style for their hat prize. I’d made an earlier version of the stuffed roll, but had done some more thinking about likely construction and was keen to try a different approach, using the same techniques I used for the horned escoffion.

Magdalena wanted an mid century version of the style with a more open roll, before the exaggeration of the later fashion. Since Magdalena has long hair with shaved sides, the deep sides of the style work well to hide any modernity. Their long hair can be plaited up into a pair of buns, which will fit into the wings.

After some discussion about colours and fabrics, we settled on gold silk and black velvet, with black and gold decorations. This is a common combination in artwork from the time, and will go well with many outfits.

Research & Design

The Bourrelet is a version of the Escoffion which features a padded roll around the top and is often called a heart-shaped headdress. The French term bourrelet or bourlet originally referred to the wreath-like round cloth pad or twisted cloth worn around a helmet or turban (Picken, 1999) and was then used by extension to refer to the headdress.

The padded roll first appeared at the turn of the 15th century and became more elaborate over time.

An early version of the shaped roll over dressed hair can be seen in the Très Riches Heures du Duc de Berry. Later examples in the Histoire de Charles Martel or the Duke of Bedford Hours show an high support structure, with crown-like ornamentation. Magdalena prefers the simple, formal shape from the mid century, as seen in Boccaccio’s Decameron.

Rather than reproducing a specific artwork, I am drawing on a range of examples to make a Bourrelet in mid century style.

Construction

First, making the pattern. Magdalena has quite a large head and lots of hair, so I padded up my headform to the right dimensions and marked the centreline and lower edge with string. To get some idea of volume, I tried modelling it with wire and foam lagging, but it didn’t really work!

Back to my usual approach of modelling in paper. I cut thin strips of light card and pinned them on with supports to shape the main arcs. Then I used strips of ordinary paper to cover the shape, taping them to each other and trimming as needed. I used this to make a flat paper pattern, then taped it the resulting shapes to see how it looked. A few adjustments and I had a good draft version.

I was travelling to New Zealand for an event and was able to try this on Magdalena in person. It needed to be a little deeper to cover their ears, and curve in at the lower margin for a nicer line. Easy changes!

Back home, I made a new version of the pattern and tried it on the headform – looks good.

I cut the shapes in 3mm furnishing felt, which works very well for flat-pattern hats. I sewed the shaped darts on the sides using the sewing machine with a broad zig-zag to give a strong flat seam. I sewed the centre seam the same way, curving the felt carefully, then sewed the sides on by hand using strong waxed linen thread.

I used my patterns to cut the pieces in gold silk, with seam allowances and extra on the lower margin (the felt has bulk, so you need more silk). I cut the sides on the bias to curve nicely over the shape, and the centre pieces likewise. But once I’d sewn the centres together I could see how differently the light reflected from the two sides. So I recut them on the straight grain – much better!

Since the top seam would be covered by the roll, I applied the silk in two stages. First, the sides, stretching carefully over the curved shape and basting the edges. Then the centre, turning under the seam and basting in place.

Now for the fretted decoration.

I drew some sample versions on the side pattern pieces to look at spacing – 3.5cm looked about right. I drew it onto plastic sheet so I could check for the best orientation, then pinned this out in string on the base to see how the sides would work with the centre section, making a continuous line where possible.

Once I was happy with the layout, I replaced the string with 5mm black rayon braid (in lieu of silk), pinning in place and then sewing through the felt. Where the braid was not continuous over the side seams, I tucked the ends under the silk. Once all the braid was on, I sewed the silk seam closed.

To finish the lower edge, I sewed on a 1cm velvet ribbon all around, covering the ends of the braid. To add richness, I sewed a gold quatrefoil mount on every junction – 75 in all. Time consuming, but it really adds to the look.

On to the roll.

After mocking this up to check the diameter, I made up a roll from layers of wool rovings (cleaned, carded wool). I cut a bias cover in heavy linen (piecing to save fabric) and basted this over the roll – much simpler and smoother than trying to stuff a sewn roll!

I checked the roll against the base and adjusted the length, then sewed it together at centre back. It also needed to be a bit tighter – I cut 3cm from the seam and basted again.

I had planned to fill in the centre front with a small curved section, covered in gold silk and edged in velvet ribbon. But once the roll was pinned on, it became obvious that I didn’t need the little front piece – the roll dipped down and covered the centre front by itself.

I measured the finished roll and cut a cover in bias-cut silk half-velvet (pieced to save fabric). I basted before sewed the piecing seam – essential when working with velvet. I pinned this over the roll, marked the seam, cut to size, then basted and sewed the final seam to make a loop.

Then I sewed a gathering stitch along each long edge, to help shape the velvet over the roll.

I pinned the velvet on the outside, then pulled up the gathering threads inside. I basted the (future) lower edge around the inside of the roll, then whipped the folded edge over to complete the cover.

I pinned the roll onto the base to check everything before sewing – looks good!

To attach the roll, I used a long needle and waxed black silk buttonhole thread for extra strength. I started in the centre front and sewed the roll seam along the crown seam for about 15cm, working from the top. I repeated this on the other side. Then I switched to working from the side, alternating towards the back.

On to the lining. Magdalena preferred a linen lining to silk, so I used my original pattern to cut a lining in black linen. I machine-sewed the sections together, then slip-stitched the lining along the edge.

To prevent the lining pulling out when taking off the hat, I sewed a couple of strong tacks through all layers, hiding them under the roll.

Time for some final embellishments. The bourrelet has many styles of ornamentation including spangled all over, rows of gold mounts around the roll or single ornament at the front.

Magdalena preferred a single front ornament with pearls. I made one up from jewelry findings and frehswater pearls, in 15th century style (although not as fancy as the extant example below). This can be replaced with a more elaborate jewel in future.

The finished bourrelet looks rich and ornate and should compliment Magdalena’s 15th century court clothing really well. And the springy felt means it should be comfortable to wear!