15th Century padded doublet with red and black stripes. For historical references and further reading please see below.

Features:
Extra padded shoulders
Durable cotton
Red and Black striped 

Extra Large
Long sleeves (from armpit) - 50.75cm (20 inches)
Neck to waist length  - 61cm (24 inches)
Chest| - 114cm (45 inches) Max girth
Weight: 1.5kg

Large
Long sleeves (from armpit) - 49.5cm (19.5 inches)
Neck to waist length  - 58.5cm (23 inches)
Chest| - 109cm (43 inches) Max girth
Weight: 1.4kg

Medium
Long sleeves (from armpit) - 48cm (19.5 inches)
Neck to waist length  - 56cm (22 inches)
Chest| - 104cm (41 inches) Max girth
Weight: 1.3kg

This style of doublet became popular during the latter half 15th century in areas such as Burgundy, where its unique appearance has been encapsulated by a number of period illustrators. Jean Fouquet (1420-1481) depicts the characteristic round ‘puffy shoulders’ in Burgundian dress as early as 1460, while other similar features can be seen in doublets much earlier in the 1440’s (see Giovanni di Ser Giovanni below).

The term doublet usually refers to 15^th-17^th century, waist length, close fitting jacket, that is distinct in it conformation with the ideal male upper body frame. Often doublets were padded garments, quilted (doubling), and worn under armour, or outer garments to provide additional and fashionable shape and padding to the body, or protect the body from chafing, but could serve to provide warmth and a place to tie ones hose.

During the 15^th century, doublets would ordinarily form the second of three layers of a man’s ‘formal dress’, with the wearing of a doublet as an outer layer being symbolic of preforming acts of physical exertion (heavy labour, sport etc), and not being considered appropriate for formal public wear. A number of somewhat unsuccessful attempts were made to limit the wearing of more elaborate doublets (such as those made of silk), as symbols of social class.

Figure 1: After Jean Fouquet. “Le Lit de justice de Vendôme.” Illuminated manuscript (Munich, Bayerische Staatsbibliotek, Cod. Gall. 6, fol. 2v.), ca. 1460.

Figure 2: Wall paining, ca. 1470-1475. The chapel of Saint Sebastian, Saint-Étienne-de-Tinée, Côte d'Azur, France.

Figure 3: Hans Memling St Ursula Shrine c. 1489. Memlingmuseum, Sint-Janshospitaal, Bruges

Figure 4: After Giovanni di Ser Giovanni. “The Game of Civettino.” Panel painting, ca. 1440–1450. Palazzo Davanzati, Florence, Italy

Research by Chris Gillard - Newcastle University