Objects of Life: a 16th century coif

Kate Fortescue, BA(Hons) Conservation of Cultural Heritage

Kate Fortescue is a student on the University of Lincoln’s BA(Hons) Conservation of Cultural Heritage degree. In her second year, Kate completed a work experience placement within the Lincolnshire Heritage Service collections team. As part of her experiences, she selected an object from the collections to research. Here are her findings about an embroidered coif that she found particularly interesting.

Leah Warriner-Wood, Senior Lecturer and Placement Coordinator, Lincoln School of Humanities and Heritage

The Museum of Lincolnshire Life holds costume and textile collections from across Lincolnshire County Council’s county Heritage services. One item in the collection is a late 16th century coif, provenance unknown, which was donated to the Usher Gallery in 1928 by Maria Elizabeth Nevile. Miss Nevile was the first woman mayor of Lincoln (1925-1926). During her time as mayor, she laid two foundation stones during the construction of the Usher Gallery on 10th March 1926.

The coif as it would be worn (drawing by Kate Fortescue)

Coifs, which were worn from the 10th to early 17th centuries, were close fitting caps which covered the head and tied with strings under the chin or behind the head. They were worn by both men and women until the 14th century, when they fell out of favour with men. Early coifs were simple in design and worn by everyone as it was seen as disrespectful to appear before God with a bare head. By the 16th century and into the early 17th century more elaborate designs became popular. At this time, it was still seen as disrespectful to God, but also the King, for a lady to be seen in public without a head cover[1], but this rule no longer applied to men. After the 17th century coifs fell out of fashion.

Surviving examples of coifs from the 16th century, such as the one donated by Miss Nevile, are intricately embroidered along with other decorative components such as lace.[2] Coifs were made of a rectangular piece of fabric, folded around to the back of the head with a seam running along the top. The edge came to a point in the middle of the head, curving down the sides of the face.[3] The example in The Usher Gallery was unpicked before it was donated, so is now a flat piece of embroidered fabric.

The coif in the Usher Gallery collection

The coif, which is currently undergoing conservation treatment, is made of white linen and hand embroidered with coloured silks and gold metallic thread in a floral scroll pattern which was a popular design of the time.[4] The use of metal threads has been traditionally associated with silk due to both being considered a luxury.[5] Using these materials signified wealth or sociocultural importance. Metallic threads could be made of pure gold or silver but were more commonly of copper or tin threads. The metal would be flattened in strips and wrapped around a fibre core of silk or linen. This was known as passing thread.[6] The flowers are scattered amongst a vine-like design of metallic thread, sprawling across the coif creating an intricate motif. Leaves are also included in the design, with birch, beech and sycamore leaves embroidered throughout. The intricate embroidery of these head pieces was used to display needlework skills.[7] When the coif was covered with another headdress the decorative components on the front edge would still be visible as an identifier of skill or status. Wearing decorative undergarments was a sign that an individual was of the upper classes.

Detail of embroidery on the coif

The language of flowers has existed since antiquity with flowers being allocated symbolism due to folklore, mythology and religion.[8] Flowers embroidered on the coif include carnations, which often symbolise love and devotion, and pansies which traditionally represent compassion and remembrance. The Tudor rose is also incorporated into the embroidery. The rose not only represented the Royal family but peace and unity following the end of the War of the Roses. Similar examples of coifs can be seen in The Metropolitan Museum of Art, dating to the early 17th century, and the Victoria and Albert Museum, dating from the 16th-17th centuries.

This article also appeared in issue No. 136 (Summer 2024) of ‘Lincolnshire Past & Present’, a quarterly magazine published by the Society for Lincolnshire History and Archaeology.

Staff of the BA(Hons) Conservation of Cultural Heritage degree would like to express their gratitude to Sara Basquill and Michelle Johns, of Lincolnshire Heritage Service, for their support in hosting Kate’s work experience placement.


[1] Arnopp, J. (2023) How to Dress like a Tudor. Barnsley: Pen and Sword History.

[2] Leed, D. (2008) Tudor and Elizabethan Coifs [online] The Elizabethan Costume page. Available from Tudor and Elizabethan Coifs (elizabethancostume.net) [Accessed 10 April 2024].

[3] Leed, D. (2008) Tudor and Elizabethan Coifs [online] The Elizabethan Costume page. Available from Tudor and Elizabethan Coifs (elizabethancostume.net) [Accessed 10 April 2024].

[4] Watt, M (2013) Coif [online] New York: The Met. Available from Coif | British | The Metropolitan Museum of Art (metmuseum.org) [Accessed 10 April 2024].

[5] Karatzani, A. (2007) The Evolution of a craft: The use of metal threads in the decoration of late and post Byzantine textiles. PhD. University of London.

[6] Hamilton, S. (1985) Analytic Methods for Identifying thread construction and stitch techniques in Historic silk and Metal thread embroideries for Museums. MA. Texas Tech University.

[7] Leed, D. (2008) Tudor and Elizabethan Coifs [online] The Elizabethan Costume page. Available from Tudor and Elizabethan Coifs (elizabethancostume.net) [Accessed 10 April 2024].

[8] Lehner, E. and Lehner, J. (2003) Folklore and symbolism of flowers, plants and trees. Cambridgeshire: Courier Corporation.