Arne Koets shows an optimal configuration for a well-tailored suit of mail – close-fitting in the arms, somewhat looser in the body. This is admittedly a rather extreme example in terms of how precisely it is tailored to the individual wearer, but the general theme of close-fitting arms and more ease in the body is fairly consistent in most medieval European illustrations of mail.
A common problem with mail/chainmail is that there’s a real shortage of references of actually well fitting/well tailored outfits. To a certain extent, it’s fairly realistic that regular soldiers would not have had personally tailored armor – but it’s also led depictions of everything from billowy sleeves to practically painted on in what’s (supposedly) serious attempts to depict the armor.
As you can see, the fitting isn’t really that different to many other more conventional garments. The main thing to remember that you really can’t go much tighter than this because the mail will start to become less effective, and wearing it may actually harm you.
The battle thong is truly one of the most ridiculous tropes in female armor – not because of anything inherently wrong with thongs but rather so many creators inability to grasp that they are tiny bits of underwear that rub very intimate bits.
I get it, butts are fantastic to look at – but there’s times and a places for showing off your ass and none of those are in the middle of a battlefield.
Four medievalist photographs by Charles Lutwidge Dodgson (Lewis Carroll)
Rose Lawrie in ‘Waiting for the Trumpet’, 7 July 1875. Wearing chain-mail specially made by Henry Holiday, illustrator of The Hunting of the Snark. Evelyn Dubourg as ‘Joan of Arc’, 12 July 1875 (two versions) Marion Terry as ‘Fitz-James’, 12 July 1875. Interestingly ‘Fitz-James’ is a male character from Sir Walter Scott’s The Lady of the Lake; the photograph is inscribed with a quote from the poem.
UM. THIS IS GREAT. Reblogging for posterity + future reference.
Four medievalist photographs by Charles Lutwidge Dodgson (Lewis Carroll)
Rose Lawrie in ‘Waiting for the Trumpet’, 7 July 1875. Wearing chain-mail specially made by Henry Holiday, illustrator of The Hunting of the Snark. Evelyn Dubourg as ‘Joan of Arc’, 12 July 1875 (two versions) Marion Terry as ‘Fitz-James’, 12 July 1875. Interestingly ‘Fitz-James’ is a male character from Sir Walter Scott’s The Lady of the Lake; the photograph is inscribed with a quote from the poem.
UM. THIS IS GREAT. Reblogging for posterity + future reference.
Some basic truths remain eternal – one of those is that women in great armor look awesome.
– wincenworks
Posted on
As Shad argues in the video, the gambeson is perhaps most one of the unappreciated aspect of armor, largely due to the unimpressive visual nature of it and misinformation spread by roleplaying games, both the early tabletop variety and video games variety.
Gambesons are not only an important part of so many armor compositions but also a viable armor in of themselves and were a fashion item at some points in history. We’re huge fans of the gambeson and would love to see them get more wide spread appreciation.
So, if you’re designing an outfit for a character who needs an armor that is light, not too heavy duty and/or can look fabulous – consider the gambeson.
Defying age with a sword: Meenakshi Gurrukkal, Kerala’s grand old Kalaripayattu dame
“Meenakshi Gurukkal crouched low, sword poised; her eyes unblinking as she faced her opponent in the mud-paved ‘kalari’ or arena. From the tree tops, a mynah’s call resonated in the silence. In a flash she moved to attack, twirling her sword; metal clashing loudly as it made contact with a shield.
At 74, she is possibly the oldest woman exponent of Kalaripayattu, the ancient martial arts from Kerala. She has been practising Kalaripayattu for no less than sixty-eight years – training and teaching.
Around 150 students learn Kalaripayattu in her school Kadathanadan Kalari Sangam, in a tiny hamlet in Vadakara, near Calicut, Kerala. From June to September every year, classes are held thrice a day teaching the Northern style of Kalaripayattu, including “uzhichil” or massages for aches and pains. Techniques have been passed down through generations, written in a palm ‘booklet’, grey and delicate with age. When school term is over, Meenakshi takes part in performances. “Nowadays, apart from teaching, I practise only when I have a show,” she says nonchalantly. This, from someone who on an average performs in 60 shows a year…”
Another awesome example of warrior women from the real world, reading through the article confirms that this martial art was traditionally practiced across genders until it was suppressed by colonialism.
Oral folklore in north Kerala, known as Vadakkan Pattu or Northern Ballads, is rich with tales of Kalaripayattu champions. Among them are the Thiyya/Ezhava warriors of Puthooram tharavad in North Malabar- heroes and heroines such as Aromal Chekavar, an expert in ‘ankam’ (duelling) and Unniarcha, a women skilled in ‘urumi’ combat who singlehandedly took on vagabonds to ensure safe passage for women in that area.
Defying age with a sword: Meenakshi Gurrukkal, Kerala’s grand old Kalaripayattu dame
“Meenakshi Gurukkal crouched low, sword poised; her eyes unblinking as she faced her opponent in the mud-paved ‘kalari’ or arena. From the tree tops, a mynah’s call resonated in the silence. In a flash she moved to attack, twirling her sword; metal clashing loudly as it made contact with a shield.
At 74, she is possibly the oldest woman exponent of Kalaripayattu, the ancient martial arts from Kerala. She has been practising Kalaripayattu for no less than sixty-eight years – training and teaching.
Around 150 students learn Kalaripayattu in her school Kadathanadan Kalari Sangam, in a tiny hamlet in Vadakara, near Calicut, Kerala. From June to September every year, classes are held thrice a day teaching the Northern style of Kalaripayattu, including “uzhichil” or massages for aches and pains. Techniques have been passed down through generations, written in a palm ‘booklet’, grey and delicate with age. When school term is over, Meenakshi takes part in performances. “Nowadays, apart from teaching, I practise only when I have a show,” she says nonchalantly. This, from someone who on an average performs in 60 shows a year…”
Another awesome example of warrior women from the real world, reading through the article confirms that this martial art was traditionally practiced across genders until it was suppressed by colonialism.
Oral folklore in north Kerala, known as Vadakkan Pattu or Northern Ballads, is rich with tales of Kalaripayattu champions. Among them are the Thiyya/Ezhava warriors of Puthooram tharavad in North Malabar- heroes and heroines such as Aromal Chekavar, an expert in ‘ankam’ (duelling) and Unniarcha, a women skilled in ‘urumi’ combat who singlehandedly took on vagabonds to ensure safe passage for women in that area.
