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This stunning Scottish wool tartan arisaidh is truly one-of-a-kind and inspired by the 10-14th century highlander woman’s arisaidh. If you already have an outfit and would like to see just the Scottish tartan arisaidh please click here. The medieval period Lady Morrigan Ensemble below includes one 4 yard arisaidh (60 inches wide), one 2 panel skirt and one full-length natural (cream) or bleached (white) muslin chemise. NOTE: The stay (or bodice) is no longer available for ordering and has been removed from the final price! NOTE: If you choose to leave a color or fabric field blank, we will match your garment with the best available choices. Get this pattern by renown Irish clothing researcher Kass McGann and make yourself a Moy Gown! You've been searching online for creative resources wanting to make a great reconstruction of accurate traditional celtic lady garb.
Whether your wedding is in June or November (or December, March, October, August or September), start your bridal reproduction now and make it to perfect with the only accurate Moy gown pattern that exists.
Buy our full-size downloadable pattern with complete instructions and historical notes based on the surviving Irish medieval woman's dress known as The Moy Gown dated from the 14th or 15th centuries. Called the Moy Gown, a dress found in 1931 in a peat bog in County Clare, Ireland, is an unlined wool garment of medieval construction. On the paper in which the garment is wrapped is written: "This woolen garment was found on the body of a woman (?) at Moy, Co. One can only suppose that the date of the find had something to do with this dearth of documentation on this important archeological discovery. Much about the nice state of Irish tailoring in this time period can be learned from this specimen. The body of the Moy gown is constructed from rectangles of cloth, widened under the arm areas by small triangles under the arms and much larger triangles of cloth set into the sides seams at the waist. The only departure from this rectangular construction is the most curious and unique feature of the Moy Gown - trapezoidal inserts over the shoulder blades on the back of the gown. The neckline of the Moy gown is a rather low scoop, finished meticulously by turning a ¼" of the fabric inside and fixing it in place with a blind stitch. The left and right frontpieces of the gown are quite square, stopping not far above the scoop neckline.
The squarish bodice is attached to two straps which are 2" wide where they meet the bodice and decrease gradually to ¾" wide at the shoulder ridge.
The upper back of the gown is a curious construction differing from other gowns of this kind. Although it is impossible to tell if the sleeves were originally wrist length or elbow length, my guess is that they came to the wrist. Unlike contemporary sources, however, the buttons on the sleeves of the Moy gown do not stop above the elbow but rather continue up to where the sleeve meets the shoulder gusset. The back body piece of the gown, like the front, is rather square, being shaped by the gore and gussets sewn into it. Like many extant tunics from the Middle Ages, the Moy gown is widened in the skirt by the insertion of gores into the side seams of the garment.


The Moy Gown is the most complete surviving example of a dress style very popular in Western Europe from the 1340s onward. There are not many paintings of Irish medieval peasants, but the constructions of this gown mirrors that of Charles de Blois' pourpoint. Misty Thicket Clothing: Mens Clothing > Renaissance, Medieval, Scottish, and Pirate Garb for Men!
This Renaissance dress is beautiful with satin, chiffon and gold trim, and would work well for a Halloween costume, Renaissance Faire, or dress-up play. Her powder blue dress with golden trim and white accents capture the time period perfectly. All of our clothes are made to historical specifications and are meant to serve the reenactment community and renaissance faire attendees. The arisaidh is elegant and practical and favored by the woman who lived and worked in the beautiful green highlands of Scotland.
Our wool tartan products are milled in Scotland and take a minimum of 3 weeks to ship, but may take longer under certain circumstances.
At Reconstructing History, we want to see you wearing the best garments you are capable of making. The Irish Free State was established in 1922 and as a result of protectionist policies, an "economic war" raged between Ireland and the English during the years of the 1930s. The thread count varies from 18 to 21 per inch along the horizontal and 20 per inch along the vertical.
The front of the gown is fastened closed with cloth buttons, but we do not know how far down the buttons ended because of the fragmentary nature of the remaining fabric. These straps were cut curved, as evidenced by the grainlines which are straight on the side where the straps attach to the sleeves but curved around the neckline. It appears that the gown was cut out of square pieces of fabric, and that other pieces were inserted to make it fit the body.
Their construction is extremely simple, but almost demands that they be fitted on the body of the wearer.
All the buttoned-sleeved garments in contemporary illustrations and sculptures are long sleeved.
It has been assumed that this was to accommodate the full sleeves of the leine worn underneath. A double width gore is also set into a slit in the center back of the dress, there being no seam in that area. The patch covers a hole in the garment where the center back gores have made a point of stress pulling on the gown body.
After reading the correspondence between the farmer who found the garment and the Museum, it has been determined that the farmer removed this piece of the gown away for some purpose, possibly to prove his possession of the garment to the Museum.
The girls green Renaissance dress consists of a green overdress and white underdress garment. Get a great historical costume for Halloween or head to your nearest Renaissance faire in this Irish Renaissance green dress. Fair Lady Dress Womens Renaissance Dresses The design of this dress is based on the classic noble clothing design in the (XII-XIII century).


It was worn belted around the waist and the extra fabric could be pinned at the breast and worn up as a hood to keep warm in the rain and cold. The cloth is woven from Z-spun singles and the individual threads vary from 1mm to 1.5mm wide. The straps are about 8" long from the seam attaching them to the bodice to the shoulder ridge. However, there is no evidence to suggest that these sleeves were worn unbuttoned or partially buttoned. The excess could also be rolled and tied about the waist or tucked into the belt in warmer weather and to keep it from interfering with chores. We offer plentiful historical notes and embellishment suggestions included in each pattern. A similar gore sits in the same position on the other side measuring 1.7" on top, and 5" on either side. At the ridge, they widen again and become a "Y" shape ending just under the shoulder blades. The 16" edge is sewn to the straps described above, with the edge of the sleeve being sewn to the top of the shoulder gussets.
From the bottom of the scoop neck to the top of the center back gore measures 16" and it is 9 ½" from the bottom of the "Y" piece to the top of the same gore. There are also holes above the right and left side gores, demonstrating that these were common stress points. It also provided lots of 'pockets' to perhaps stash a spindle and wool or herbs gathered from the fields. The interior angles on the top corners are both 92 degrees, indicating that the sides of the gore must be slightly rounded. They span the area from the perpendicular edge of top of the sleeve to the middle of the back. The rectangular sleeve then wraps around the arm and attaches to the outside edge of the same shoulder gusset (the 6 ½" side) being turned 90 degrees in its journey. The sleeve can be quite close-fitting and still slip over the wrist easily without the use of a closure like buttons. In fact, the only thing noticed in the file is the correspondence between the farmer who found the gown in his garden and the Museum, and his replies arguing over price (in terms of Irish law, a discoverer has rights to the market value of his discovery). In the correspondence, the farmer argued for the antiquity of the gown and the Museum rather forcefully stated that it was relatively modern so the farmer never collected. Why the Museum's contention was that the gown was only about 100 years old is unknown to us. The result is a sleeve that hugs the shoulder but doesn't have the stress of a shoulder seam.



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