Almogavar Clothing: A Complete Guide to Recreating the Attire of the Crown of Aragon Warriors

Can you imagine treading borderlands with campaign dust clinging to your clothes, the wind seeping through the slits of a gonella, and an azcona resting at your side? This is how the Almogavars dressed: men and women shaped by the harshness of the landscape, by the need for movement, and by the simplicity that only combat experience can impose. In this article, you will learn to identify the key pieces of their attire, their functional meaning, how they evolved over time, and what criteria to follow for a historically rigorous recreation.

Dressing as an Almogavar: Principles that Make the Difference

Dressing the Almogavar way is not a matter of putting on old clothes; it’s understanding a philosophy: lightness, resistance, economy of means. Contemporary chroniclers describe them as robust, poor, and practical. This appearance responds to conscious decisions: nothing to hinder running, nothing unnecessarily heavy, local materials that withstand the elements.

Basic rules for a faithful recreation:

• Prioritize historicity: rely on sources like Ramon Muntaner or Bernat Desclot and archaeological remains.
• Avoid anachronisms: do not mix garments from distant eras or fantastic elements.
• Simplicity and functionality: the austere Almogavar aesthetic does not allow for superfluous ornaments.
• Coherent materials: linen, wool, leather, and cheap furs are the norm.

Visual and Temporal Chronicle of the Attire

Before delving into each garment, it is worthwhile to outline the evolution: the Almogavars operated between the 12th century and the early 14th century; during that period, fashion, tactical needs, and cultural contacts nuanced their attire. Below we present a synthetic chronology that will help you understand why certain pieces appear or change.

Era	Event
12th – Early 14th Centuries (overview)
Timeframe	Attire of Almogavar men and women between the 12th and early 14th centuries; mixture of civilian and military garments and absence of uniforms.
Basic male attire (12th-13th centuries)	Focus on functional and simple garments typical of the 12th-13th centuries; rough and crude appearance reflected in chronicles.
13th Century
Evolution of the saya	Introduction of the laced saya: variants of the saya with cords to cinch it to the body, adapting the garment to practical needs.
Cofia (coif)	Appearance and popularization of the coif as a civilian headpiece during the 13th century.
Byzantine Stage (early 14th century)
Short camel hair breeches (“Bedouins”)	During the expedition to Byzantium, the use of short camel hair breeches is mentioned, valued for their warmth and the belief in their resistance to cuts.
Sources and Recommendations for Recreation
Sources	Contemporary chronicles are the most reliable sources for understanding the attire; they reflect simplicity and scarcity of resources.
Historical Recreation	For accurate recreation, base it on chronic descriptions and avoid anachronisms or fantastic inspirations alien to the period.

12th – Early 14th Centuries

• Timeframe: Attire of men and women between the 12th and early 14th centuries.
• Character: mixture of civilian and military garments; absence of uniformity.

13th Century

• Laced saya: adapted for better fit and mobility.
• Coif: civilian headpiece on the rise.

Byzantine Stage

• Bedouins: short camel hair breeches, valued for their warmth.

Breakdown of Male Pieces: Function, Form, and Material

Each piece responds to a specific need. Below we examine the most representative ones and how to interpret them in a recreation or to understand their historical use.

The Abarcas: Footwear of the Frontier

Abarcas are the mark of the humble landowner: a single piece of leather that wraps the foot, durable and easy to repair. Their sole and shape varied according to the terrain. They were ideal for walking miles outdoors without losing feeling in the foot.

Calzones (Breeches) and Calzas (Hose)

Breeches covered up to the knees; hose protected the legs. Depending on the season, linen or wool was used, and in winter, inexpensive furs such as rabbit or sheepskin were resorted to. In the Byzantine expedition, the curious use of camel hair breeches appears.

Gonella or Saya: That Tunic that Says It All

The gonella is the visible and symbolic garment. Simple, of varying length and with an open neck, it allowed freedom of movement. For the Almogavars, it was common to wear it in sober or undyed colors, without ornaments, and sometimes sewn laterally with rope in work versions.

Crespina, Headpieces, and Head Protection

The crespina or coif secures the hair and serves as padding under light mail or a basic helmet. Chroniclers speak of “capells de cuyr tot trepat” — perforated leather hats — and simple metal nets. It was not the complete protection of a tournament helm, but something practical and light.

Accessories: Belt, Pouch, and Weapons

The leather belt is the axis of the attire: it holds the azcona, the cortel or the coltell and allows for hanging bags or utensils. The pouch preserves provisions and leather pieces for survival. The documented weapons — azcona, chuzo, cortel — speak more of promiscuity with survival than of ostentation.

Garment	Common Materials	Main Function	Recreation Notes
Abarcas	Leather, tanned hide	Protection and mobility on uneven terrain	A single piece of sewn leather; reinforced sole; natural colors
Gonella / Saya	Linen, wool, cotton	Main clothing; freedom of movement	Simple, unadorned, neutral tones; different lengths
Calzones / Calzas	Linen, wool, leather, furs	Thermal insulation and protection	Layers: inner breeches + outer hose; visible straps
Crespina / Coif	Linen, leather	Padding and hair restraint; base for light helmet	Simple shape, cords or lacing; can be slightly padded

Abarcas

• Material: leather
• Function: mobility
• Recreation: one piece, visible stitching

Gonella

• Material: linen or wool
• Function: main garment
• Recreation: simple, unadorned

Almogavar Women’s Clothing: Realism and Historical Respect

The women who accompanied the companies dressed according to their social status: practical and modest. Although references are scarcer, sources allow us to deduce that their attire followed 13th-century peasant patterns: saya, shirt, breeches, and simple cloaks.

On exceptional occasions, some women took up arms. If you portray an Almogavar woman, avoid romantic stereotypes: opt for functional garments and a hint of symbolic protections (light head protection, belt with tools) instead of aesthetic helmets or anachronistic elements.

Textures, Colors, and the Symbolic Value of Dirt

The dirty and patched appearance is not carelessness: it is identity. Tones were limited to accessible dyes: ochers, browns, muted greens, simple reds, and raw whites. The mix of patches in different textures speaks of field repairs and reinforces verisimilitude.

What should never appear in an Almogavar recreation?

• Complete and shiny plate armor or richly decorated mail.
• Expensive accessories and fabrics that indicate high social status.
• Fantasy elements or modern-inspired items (e.g., visible zippers, modern buttons, shiny synthetic fabrics).

Practical Guide to Assembling a Complete Outfit

Here’s a checklist for putting together a coherent outfit that works for recreations or historical study.

• Base: inner linen or cotton breeches.
• Mid-layer: wool or leather hose depending on the climate.
• Outer garment: simple gonella; thigh or knee length for greater mobility.
• Footwear: leather abarcas; reinforced insoles if comfort is required.
• Head protection: padded crespina; light helmet or metal net if greater historicity is desired.
• Accessories: leather belt with sheath for the coltell, pouch, and utility items.

Construction Details and Visible Seams

In the Middle Ages, mending and sewing are part of the aesthetic. Sewing with visible stitches, using patches with thick thread, and working the edges to simulate wear adds authenticity. Do not exceed the limit: the garment must be believable, not deteriorated to the point of discomfort.

Almogavar Clothing in Campaign: Adaptations and Practical Tricks

Life on campaign forces ingenious solutions. The Almogavars used ropes to cinch gonellas, improvised cloaks with wool skins, and used hanging bags to store food. The use of skins as aprons or reinforcements in areas highly subject to chafing is frequent.

Another adaptation: the superposition of light garments to achieve thermal insulation without losing mobility. This tactic works both in cold mountain areas and in milder campaigns.

Comparison: Materials and Performance

Material	Advantages	Limitations
Linen	Breathable, good in summer, easy to dye	Wrinkles, less insulating in cold
Wool	Excellent insulation, resistant to light water	Bulkier, can itch
Leather	Durable, protects against chafing and superficial cuts	Heavy, requires maintenance

Linen

• Use: breeches, light gonellas
• Pros: cool and manageable

Wool

• Use: hose, cloaks, linings
• Pros: thermal insulation

Weapons and Accessories: How They Complement the Clothing

The choice of weapon dictates how clothing is worn. A short-bladed cortel or coltell is kept at the waist; the azcona (short throwing spear) needs a sturdy belt and space to be quickly drawn. It is not advisable to carry bulky shields if mobility is sought.

If you portray an Almogavar on the move, keep in mind that the clothing should allow for quick weapon retrieval and changing direction without entanglement.

Care and Authentic Aging of Garments

For a garment to look campaigns-worn, avoid impeccable washes. Employ aging techniques: rub with dyed earth, sew patches with thick thread, and work the edges to simulate wear. Do not overdo it: the garment must be believable, not deteriorated to the point of discomfort.

Common Errors in Recreations and How to Avoid Them

• Do not use shiny synthetic materials: modern polyester breaks the historical atmosphere.
• Avoid modern seams with visible machine finishes.
• Do not mix elements of high nobility with peasant garments.
• Do not incorporate anachronistic accessories (modern buckles, zippers).

Documentary Resources and How to Interpret Sources

Muntaner’s and Desclot’s chronicles are cornerstones; pictorial representations and illuminations provide shapes and proportions. Always interpret with caution: iconography can idealize, and literary testimonies simplify. Corroborate with archaeological remains and works on medieval clothing to adjust cuts and seams.

Real Examples and Ensemble Proposals

Below, I propose three typical ensembles that serve as a guide for different climates and levels of historicity.

• Basic Field Kit: linen breeches, wool hose, thigh-length gonella, abarcas, padded crespina, belt with sheath for coltell.
• Cold Campaign: wool breeches and hose, lined gonella, fur apron on the front, wool blankets for the night, reinforced abarcas.
• Byzantine Stage Recreation: incorporate the short fur breeches (Bedouins) as an period detail, add light elements of oriental influence always respecting historicity.

Replica and Related Garments

If you wish to see pieces inspired by these references, look for reproductions based on medieval patterns, made from authentic linen, wool, and leather. Avoid overly ornate versions or those that mix modern materials. Remember that historical consistency always prioritizes verisimilitude over contemporary aesthetics.

Medieval Shirts

Medieval Pants

Medieval Hose

Medieval Breeches

Final Observations to Help You Improve Your Recreation

The difference between a credible recreation and a mere aesthetic lies in the details: the way of mending, the arrangement of straps, the precise length of the gonella, and the coherence of materials. The history accompanying the attire also matters: explaining why a patch is there or why a certain color was chosen brings life to the piece.

One last reminder: the Almogavars did not fight for the shine of their armor but for the speed of their steps and the resilience of their clothes. Reproducing that is, in essence, understanding their soul.

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