Rus Male Costume

Rus Male Costume

By Peter Beatson
http://users.bigpond.net.au/quarfwa/miklagard/Costume/Rus/Trader/Rus_main.htm

Introduction
Hat
Kaftan
Accessories
Undershirt
Trousers
Leg Bindings
Shoes
References

Introduction

Numerous grave finds show that fashions in

clothing and jewellery were transmitted
from steppe nomad cultures (eg. Khazars)
to Eastern Scandinavia, via the Russian
principality centered in Kiev, during the
Viking period (Jansson 1986; 1988). These
include metal buttons, appliques, and braids
presumed to come from a front-opening
coat or kaftan (perhaps ultimately derived
from a Persian riding coat like those found
in Antine, Egypt: Gervers 1983),
sometimes found in association with belts
of the type familiar from nomadic art and
archaeological finds. It has been suggested
that garments of these types were awarded
by the Russian prince to persons of rank
(Hgg 1983a; Roesdahl and Wilson 1992).

General reconstruction notes: The

costume was based almost entirely on
archaeological finds from Scandinavia and
'Varangian' settlements in Russia. All
seams were hand sewn, the types of seams
used are those known from surviving
Viking Age garments and fragments (Fentz
1987a; Hgg 1974; Hald 1980; Walton
1989). Fabrics and threads of natural fibre
(silk, wool or linen) were chosen to match
the archaeological finds as best as possible.
Metal items were made by cire perdue
casting (from wax models).
 Rus Male Costume

Rus Hat
Probable pointed caps were identified in two Birka graves by the presence of conical silver terminal
mounts (Arbman 1940-3; Geijer 1938; Hgg 1986; Roesdahl and Wilson 1992). Traces of silk were found
on the inside of the mounts. In one case, the hat was further decorated with four woven silver wire
pendants. On the other cap (in grave Bj644), a woven gold wire 'passement' band was apparently fastened
from the brow to the peak (Hgg 1986).

Reconstruction: Wool was chosen as the base fabric of the hat, as silk would have insufficent strength to
support the silver terminal, and perhaps would not have been put to such extravagant use in any case.
However, silk trims were added, to account for the traces found inside the mounts. Appliqued silk bands
on clothing are known from several high-status burials, such as Oseberg, Mammen, and Birka (Hgg 1983;
Krafft 1956; stergrd 1991). The fur trim was added after the reconstruction of Arbman (Tryckare 1966),
perhaps on the basis of later Russian manuscripts and ethnological material. The fur is marmot, which was
also used, probably as cloak lining, in clothing from the Mammen burial (Nationalmuseet Copenhagen:
pers. obs. 1994). For economy's sake, the gold 'passement' from grave Bj644 (Geijer 1938) was copied in
silver wire. The conical mount is cast silver, based on photographs of a (sheet silver and filigree) original
from grave Bj 581 (identical to, but more comple te than the mount from Bj644).

Kaftan
The collar and cuffs are reconstructions of finds
from Vlsgarde graves 15 and 12 respectively
(Uppland, Sweden, 10th century). This excavation
remains unpublished, the collar and cuffs are
catalogued in Graham-Campbell (1980) and
shown in the reconstruction of Arbman (Tryckare
1966). They are of red silk tabby embroidered
with silver thread, and are displayed at the
Museum of Norse Antiquities, Uppsala Sweden
(pers. obs. 1994). The collar has been mounted as
a 'standing collar' similar to those of surviving
intact garments of Alan burials of the 8-9th
Above
centuries from Mostchevaya Balka, in the Title: Silk Cuff, 10th century.
Caucasus (Ierusalimskaja 1996). Graham- Technical:2 cuffs 9 x 4.2 cm. 'Samitium' (weft-faced compund
Campbell (1980) considered the collar to be a twill) silk U/U (ie. unspun), 60 x ? threads/cm. Embroidery in
cloak trimming, though no supporting evidence is Borre style, thread silver foil spun around silk core. Edge trim
provided for this conclusion- perhaps as no plaited silver wire.
Location: Valsgrde grave 12, Uppsala, Sweden.
buttons were recovered from grave 15 (see Small Find Number: 918 and 973.
below). However, kaftans without buttons were Held: Gustavianum, Uppsala University, Uppsala Sweden.
proposed in some Birka graves (Hgg 1986), and Reference: Bender Jrgensen 1992
the Mostchevaya Balka kaftans had loop and Image Source: World of the Vikings CD-ROM.
buttons made entirely of fabric. Twelve cast
bronze bu ttons were found in grave 12. Identical
or similar buttons have been found in numerous
male graves, notably in Birka, Sweden (Arbman
1940-3; Avdusin and Puskina 1988; Geijer 1938;
Hgg 1986; Jansson 1988). They are usually
found in a row (4-24 buttons) down the centre of
the chest to the waist. Apparently, apart from the
cuffs, no metal braids or appliques like those
 Rus Male Costume

found on the Birka kaftans were present in the Below:

Vlsgarde 12 grave, therefore the buttons have
been mounted on a strip of silk, as known from
the 10th century chamber grave Dn-4 at
Gnezdovo, Ukraine (Avdusin and Puskina 1988).
Title: Silk Collar, 10th century.
Technical: Collar 51 x 6 cm, 'Samitium' (weft-faced compund
twill) silk U/ U (ie. unspun), 44 x ? threads/cm. Embroidery thread
silver foil S-spun around silk core.
Location: Valsgrde grave 15, Uppsala, Sweden.
Small Find Number: 5915.
Held: Gustavianum, Uppsala University, Uppsala Sweden.
Reference: Bender Jrgensen 1992
Image Source: World of the Vikings CD-ROM.

Reconstruction:

The basic material of the kaftan was usually wool of various weaves, including twills (Hgg 1986). Viking
Age woolen fabrics were usually worsted, ie. the fabric was not fulled (a process similar to felting) and the
nap was not raised, giving a smooth appearance with a visible weave. The fabric used in the reconstruction
was a hand-woven worsted 2x2 twill, dyed with natural vegetable dyes (Lewis tweed). The female version
of the kaftan was probably lined, with linen or silk, though no such information is available for the male
garment (Hgg 1983). Therefore, a lining of low grade silk tabby was included. Insufficent remains for
reconstructing the cutting pattern, which was therefore based on surviving tunics (Burnham 1977; Fentz
1987; 1987a; Gervers 1983; Hald 1980). See Ierusalimskaja (1996), however, for an alternate, Persian-
influenced construction of this period. Though gores are often considered a later feature (Nockert 1987;
Nrlund 1936), garment remains f rom the harbour and settlement of Haithabu (=Hedeby) show that they
were in use by the Viking Age (Hgg 1984; 1991). Imitation silver thread was the only available option for
the embroideries, however the result is visually similar (Museum of Norse Antiquities, Uppsala: pers. obs.
1994). The buttons were based on those of the Valsgrde 12 find (opcit.: pers. obs. 1994 ).
 Rus Male Costume

Kaftan Pattern

The pattern used by the author.

An alternative cut as discussed in the text (Ierusalimskaja 1996).

Rus Male Costume
 Rus Male Costume

Accessories

Belt: The leather belt is reconstructed from a 10th C. Swedish example from Birka grave Bj913 (Arbman
1940-3; Jansson 1986; 1988). The many bronze mounts are probably of nomadic origin. Overall design
was based on reconstructions of similar belts (reviewed Jansson 1986). The 'D'-shaped mounts were
substituted from a single find from the 'Black Earth' (urban area) of Birka (Jansson 1986), the remainder
were copied from the set in grave Bj913.

Knife: A replica of a 10th century example from Birka grave Bj944. The associated body was dressed in a
kaftan and pointed cap (Arbman 1940-43). An early 11th century Arab source (ibn Miskawayh) describes
Scandinavians or Rus' in battle: "....They fight with spears and shields, and carry battle axes and a weapon
like a sheath knife. And they fight as foot soldiers, especially those who came by ship." (Lindholm Hje
Museum, Aalborg Denmark: pers. obs. 1994). Mounts for the leather sheath were cast, or fabricated from
sheet bronze, based on a photograph (Holmqvist 1979).

Sword and Scabbard: The sword is a full scale rendering of a Petersen type E, dated 10th century, from
grave Bj643 at Birka, Sweden (Arbman 1940-43), made however by modern techniques typical for
reenactment weapons. The scabbard is the multilaminar type typical of the period (wood core lined with
skin, bound with linen, and covered with leather: Beatson 1994). The bronze chape is a copy of the one
found with the sword.

Purse: 10th century, from Birka grave Bj731, as reconstructed by

Graslund (1984). The bag is of wool 'rep' weave (tabby is substituted here,
for reasons explained above), the lid is of two leather layers with an edge
binding of leather. Of the two straps, one is functional (engaging a buckle),
the other decorative, with cast bronze animal head mounts (as those of
Bj731 were severely corroded, purse mounts from Bj904 (Arbman 1940-3)
were substituted). The bag was decorated with silk applique and a silver
'passement' (woven wire band).

Wallet: Folding leather wallet from Birka grave Bj750:2, based on the
reconstruction by Faith-Ell (Arbman 1939; 1940-3; Graslund 1986),
though the decoration of gilded leather thongs has been omitted. These
wallets were used to hold small valuables such as coins and balance
weights. The wallet was reconstructed in red Moroccan lambskin. An
original dirhem was placed within.
 Rus Male Costume

Undershirt

An almost complete linen shirt dating to the first half of the 11th century was found at Viborg, Denmark
(Fentz 1987; 1987a). The garment was reconstructed from linen tabby, as described in Beatson (1995).

Undergarment
As archaeological evidence is non-existant, the nature of Scandinavian underwear in the Viking period
must remain speculative. Underwear was presumably as necessary then as it is now, for insulation, to
prevent chafing by rough woolens, and reduce soiling of outer clothes. It was therefore necessary to be
liberal with references, though at least they show that these styles of garment were in existance before the
Viking Age. Iron Age 'Tollund Man' wore a hide girdle tied with a simple knot, which might have fastened
a (perished) fabric loincloth (Glob 1977), like that of the recently discovered chalcolithic 'Ice Man'
(Barfield 1994). A loincloth was reconstructed as a simple rectangle of linen, fastened by a hide belt
similar to that of 'Tollund Man'.
 Rus Male Costume

Undershirt Pattern

Reconstruction of the Viborg shirt (Fentz 1992) front (top) and back (bottom).

Proposed layout of pattern on material from the same reference as above.

 Rus Male Costume

Trousers

Full breeches gathered at the knee were a widespread fashion in Viking Age Scandinavia and Russia, as
known from pictorial evidence such as the Norwegian Oseberg tapestries (Hougen 1940), and Gotland
picture stones (Magnusson 1976), and a silver figurine recently excavated near Lund, Sweden (pers. obs.,
Kulturhistorisk Museum, Lund 1997), and as documented c.950 by the Arab ibn Rustah: '...full trousers of
one hundred ells of fabric a pair, and when they put them on, they roll them up to the knees and fasten
them there.' (Brndsted 1965). Fragments of a pair such trousers were recovered from the harbor of
Haithabu, and are dated to the 10th century. The remains consist of a wedge-shaped front panel of woolen
'rep' fabric, and parts of the seat and legs, which were made of double layers of crepe-weight wool tabby.
The fabric was probably treated by immersion in hot water, causing it to shrink and wrinkle. (Elsner 1988;
Hgg 1984; Roesdahl and Wilson 1992; Trott 1988; Wikinger Museum Haithabu, S chleswig: pers. obs.
1994). The front parts of the trousers were dyed red, the rear yellow-green (!).

Reconstruction: 'Rep' is a tabby woven cloth with a pronounced 'rib' in the warp direction. As such fabric
was unobtainable in wool, a plain tabby weave was substituted for the front panel. The legs were made
from wool crepe (note however that modern crepes are not tabby weave), dyed to suitable shades. The cut
of the garment was based on the small surviving pieces from Hedeby, and on the principles of the well-
known trousers from the Roman Iron Age Thorsberg moorfind, Denmark (Hald 1961). Fragmentary finds
from the early-mid Viking period show that this pattern was still in use (Hgg 1984; Hundt 1981). A
drawstring of tablet woven wool was added.

Trousers Pattern
Hedeby harbour, 8th-10th century. Narrow tapered crotch gusset, and parts of legs and seat of a pair of
baggy trousers. All pieces are creased, suggesting pleating. Some pieces are red, some green , but no dye
analysis has been performed. The crotch panel (H72 A-a, H91A) is made of a fairly solid fabric, whereas
the legs (H72 A b-g) are of thin, loosely woven material (like crepe), possibly folded double (Hgg, 1984).

H72A
crotch (a), and edges of six pieces (b-g) of cloth sewn to it (legs and seat).

a. crotch, tabby (plain weave), rep (ribbed) on weft. Z/Z spun, 21 x 8 threads/cm, red.
Thickness 1 mm.
b. ?seat, fine crepe-weight tabby (plain weave) thickness 0.5 mm, Z/Z spun 18 x 11-12
threads/cm, green.
c. front of leg, red, similar to b, Z/Z 25 x 18 threads/cm.
d. front of leg, red, similar to b, except Z/S 17 x 10-11 threads/cm.
e. gusset or rear of leg, green, similar to b, except Z/S, 17 x 11 threads/cm.
f. gusset or rear of leg, green, similar to b, except Z/S, 12-14 x 10 threads/cm.
g. ?seat reinforcement in the seam between a and b, similar to b, no other details, little
remains.

H72B
?part of leg, similar to H72A-c, red, Z/Z 25 x 16-18 threads/cm.
H91A
?upper part of crotch panel H72A-a, fragments of crepe-like material attached to sides.
 Rus Male Costume

Leg Bindings

Loom-woven woolen bands, typically 70-100mm wide, are known from Viking Age urban sites, namely
Elisenhof, Haithabu, London, and York (Elsner 1988; Hgg 1984; 1991; Pritchard 1984; Trott 1988;
Walton 1989). These are identified as leg bindings, a fashion widely represented in early medieval art.
Most of the finds are of herringbone twill. Blue dyes were extracted from several London and York
examples (Pritchard 1984). Hooked metal tags, or so-called 'garter hooks', are most common in England,
but particularly elaborate cast examples are known from Sweden and Russia. Two were located near the
knees of a male skeleton in Birka grave Bj 905 (Geijer 1938). Conceivably these functioned to fasten the
leg bindings.

Reconstruction:The woolen bands mentioned above were woven as whole cloth, ie. they have selvedges
on both sides. As cloth with such narrow loomwidth is not readily available, the 4 metre strips were cut to
width from a suitable blue herringbone twill, and finished by buttonhole stitching (raw edges of a silk band
from the C10th Mammen burial, Denmark, were finished with buttonhole stitch: stergrd 1991). The
bronze hooks were based on a single find from the C9-10th settlement known as 'Ryurik Gorodische' near
Novgorod, Russia (Nosov 1987). This hook was almost identical to the pair from Birka grave Bj905.

Shoes

The ankle shoes were based on a left shoe dated to the 8-9th century from Staraya Ladoga, Russia (Martell
1992; Roesdahl and Wilson 1992; 'Vikingernes Rusland' exhibition, Sigtuna Sweden: pers. obs. 1994). It is
of cattle hide with a two piece (sole and upper) construction, plus a triangular insert over the instep.

Reconstruction: The cut-out pattern of this shoe was published by Ojateva (1965), though this pattern was
unavailable at the time of making. Ankle shoes with similar features (pointed heel, false vamp seam etc.)
eg. from Oseberg and York, served as a basis for the design. The side ?latchet fastening is an unusual
feature for a shoe of this early date, but is replicated in a fragmentary ?10th century shoe from Haithabu
(Groenman-van Waateringe 1984). As the fastening itself has not survived, it was reconstructed as leather
lachets (ties), based on similar later examples (Grew and de Neergaard 1988). Construction was inside out
(as a turn shoe), with hand sewn seams of authentic type following archaeological evidence (Grew and de
Neergaard 1988), the materials were vegetable tanned cattle hide and raw linen thread. The original shoe
bore stitchmarks around the ankle opening, these were put to decorative use by topstitching with coloured
wool, other suggestions for the purpose of this feature ar e fastening a (cloth?) lining, or a strengthening
leather strip (MacGregor 1982).
 Rus Male Costume

Acknowledgements

I wish to specially thank Christobel Ferguson for the major fabrication of most garments, and for the tablet
woven cord. Thanks to Dennis and Christopher Morgan for fabricating the knife blade, and Alan Shadbolt
(Falcon Forge, Brisbane) for the sword.

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