In what appears to be a complete break from the traditional sense of how Viking Age and earlier Scandinavian tunics were constructed, the Hedeby Type II tunic (identified by Inga Hägg in "Textilfunde Haithabu") is in stark contrast to the short, fitted tunics of previous years. Perhaps the most notable difference is the length, reaching near to the knees or even possibly beyond!
The new tunic style was originally noted by Hägg due to an assortment of fragments which appear to have originally belonged to a longer tunic with splits up middle lower half. This style is in line near perfectly not only with depictions on the Bayeux Tapestry, as well as the original Moselund Tunic. According to the latter two examples, the tunic also seems to have loosened a bit in fit, as well, and did not feature the overly-fitted chest and shoulder area as the Type I appears to have had. In addition to the split lower half, an interesting sleeve arrangement was also found in the old town. This sleeve bore a rounded arm base, as well as a strange sort of gusset inserted into the seam of a different weave and color. Originally thought to have been a repair, Hägg noted that the threads and wear appear consistent with the rest of the sleeve, indicating it was made at the same time and was, therefore, intentional. Another feature noted by Hägg was that of Fragment 93 A and B, which appears to have been fragments of a red wool tunic with yellowish decoration added, likely that of a neckline. Such decoration appears to be very consistent with depictions on the Bayeux Tapestry. Unfortunately, the split lower half area is about the only example of this specific style of tunic we have from Hedeby, so some degree of filling in the blanks is needed to fully reconstruct a reproduction. For the reconstruction, we opted to go primarily with that of the Moselund tunic, which dates to only slightly later than the fragments recovered from Hedeby. Little adaptation was needed on the Moselund tunic to make it appear close to the Hedeby tunic, and with the additions of the sleeve gusset and yellowish trim, the similarities to those tunics found on the Bayeux Tapestry are striking! On this reproduction, the primary body shape is that of the Moselund tunic, with a rectangular back and fitted front with rounded armholes and sloped shoulders. Such a combination of the front and back creates and interesting "caped" appearance in the tunic, and makes it very full and easy to work and move in. Because of the already rounded armholes, adding the rounded arm bases of the gussetted Hedeby sleeve was rather easy, as well. Finally, as with the original fragments, we went with a yellowish wool trim for the collar and lower hems, creating a tunic that nearly identically resembles some from the Bayeux Tapestry. All seams were sewn using running stitches and were treated with overcast stitches. Such a combination also falls in line with the fact that Danes were already influencing Norman fashions by the end of the Viking Age and the beginning of Norman proliferation in Europe and Britain, as many have previously speculated. Due to the "modern" style for the time, and sophisticated cut, as well as the fact it has been theorized this style of tunic originally came along to facilitate easier riding of horses, it is mostly likely this tunic would be most correct for very late Viking Age Danish interpretations, and for those of upper-class depictions. It is quite unlikely at this time that this style of tunic would have been accessible to lower-class members of Danish society. Below are the photos of the reproduction, as well as some of the original examples upon it was based. Details on the Hedeby Type III wool tunic and stitched goat leather belt with accessories.
Haithabu, Current-Day Germany ; Latter half of the 10th Century. While many areas of Early Medieval Europe bear perhaps one good example of a style of tunic worn, Hedeby contains several. While all of these are fragmentary at best, each one has consistencies with other fragments (such as several being made from the same textile weave, dyed the same, sewn the same, etc.), which allows us to group them all together into three main tunic styles. Here we will look at the first of the three, the Type I.
This tunic has the most recovered features, and is therefore considered one of the more complete reproductions. It contains features gathered from fragments 9, 18, 40, 55A, 72C, and 73. It is made from plain (tabby) weave wool and has not been fulled, leaving the weave exposed. It has noted that several of the original fragments were "thin and gauzy", so a thinner wool is preferred here, as well. Few of these fragments were tested for dyestuff analysis, so color is debatable, however, remains of woad blue paint have been recovered from pots in Hedeby, so we opted for a woad blue dye here, as well. As far as the tunic's actual features go, it is quite complex for an Early Medieval tunic. First of all, the body is split into quarters, with two torso pieces, joined at the shoulders and under the arms, and two lower pieces, which are opened up via an arrangement of triangular gores (six in total) around the lower half. The upper and lower bodies are joined via a seam that runs across the waist. The neckline is also very wide and open, and the tunic has rounded, in-set armholes and sleeves. A sleeve has been recovered from Hedeby, however, it is from a different weave and didn't belong to this tunic in all likelihood, so we opted for a simple fitted sleeve with the seam running down the back. To add to the tunic's fitted nature, it also bears a pair of "princess seams" running down the back, from the shoulder seam to the waist seam. These aid in the fittedness of the tunic and create a more tailored look. Another unique feature is the presence of an odd slit in the bottom front half, in which it appears to have been opened and hemmed with an additional piece of wool of a different color sewn inside. Many are unsure what this actually means, but many have speculated that this was an early rudimentary pocket. All of the seams were sewn using a double running-stitch and then treated with folding them down twice and affixing them with an overcast stitch. The tunic has also been worn and aged to further add to the representation of it being a middle or lower-class garment. This tunic style would likely be correct for any lower to upper-class representation, depending on the color and quality of fabric used. Below are photos of the reproduction, as well as photos of the original fragments upon which it was based. |
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