The Bayeux Tapestry, a nearly 1,000-year-old embroidery depicting the 1066 Norman Conquest of England, is set to return to England for the first time since its creation. Starting September 10, the 70-metre-long tapestry will be displayed on loan at the British Museum in an exhibition attracting significant public interest, with tickets selling out swiftly after their release.

While the tapestry is well-known as a historical document illustrating the events of the Norman invasion, recent attention has focused on its intricate depiction of medieval clothing and accessory styles. The embroidery, beyond narrating war and political upheaval, is rich with detailed representations of textiles, colors, and attire, reflecting a nuanced language of medieval fashion.

Gale Owen-Crocker, professor emerita of Anglo-Saxon Culture at the University of Manchester, highlights the wide variety of clothing styles shown in the tapestry, noting that no two figures wear identical outfits. This diversity contrasts with modern storytelling conventions, where uniform dress codes usually apply to characters. Scholars note that the tapestry’s depictions should not be taken as strict historical records of 11th-century dress. Some garments appear influenced by earlier Anglo-Saxon manuscripts, while others seem closer to contemporary fashion of the time.

Michael Lewis, curator of the upcoming exhibition, estimates the tapestry features 621 men and only three clothed women, with the females illustrated wearing long gowns and showing signs of distress. The men’s attire predominantly consists of close-fitting, knee-length tunics with flared skirts and simple trim, likely embroidered or woven, particularly among the English figures. Distinguishing the Normans are their characteristic reversed mullet hairstyle—shaved at the back and brushed forward—and certain garments such as long divided tunics or "culottes," a style that remains puzzling to historians and generally signals foreignness.

Brightly colored, skin-tight hose in red, green, blue, and yellow feature prominently below tunics, though experts suggest this likely reflects artistic convention rather than practical dress, as actual trousers of the era were typically baggier. Cloaks fastened with large, bejeweled brooches serve as visual markers of status and narrative cues, with some figures, like Guy of Ponthieu, adorned in luxurious textiles possibly including silk.

Accessories such as hawks and hounds, carried by English figures, indicate wealth and social standing. In the tapestry’s opening scene, Edward the Confessor is shown in a pale green ensemble, distinct from other Anglo-Saxon art, complete with a gold belt, crown, sceptre, and an elaborate embroidered robe. This portrayal has been interpreted as a symbolic assertion of England’s richness, underscoring motives behind the Norman conquest.

Footwear appears relatively uniform across social strata, featuring small, pointed, ankle-high shoes in alternating colors. Mail armor is depicted on many combatants during campaigns and the Battle of Hastings, although the presence of mail trousers has prompted debate due to questions about their practicality.

The tapestry offers no clear illustration of underwear, leaving it uncertain whether linen underclothes were worn beneath battle garb, as white dye was not used in the embroidery. This ambiguity continues to fuel scholarly inquiry.

Inspired by his work on the tapestry’s colors and dyes, curator Michael Lewis has developed a Bayeux tartan pattern whose palette is drawn directly from the embroidery. This design has been officially registered with the Scottish Register of Tartans, following approval by the mayor of Bayeux, exemplifying ongoing cultural connections sparked by the tapestry.

For many scholars, including Owen-Crocker, the tapestry remains a source of discovery. Decades of research have only deepened appreciation for its detailed representation of 11th-century dress, which will come to life for contemporary audiences through the upcoming exhibition.