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Reading "Orb: On the Movements of the Earth" to Unravel 15th Century Polish Fashion History
The manga "Orb: On the Movements of the Earth" (チ。-地球の運動について-) has captured attention with its focus on the heliocentric theory. Set in the fictional country "P Kingdom," which is reminiscent of 15th century Poland, it depicts the struggles of individuals risking their lives to prove the then-heretical theory of heliocentrism. Of particular note is the remarkable accuracy with which the clothing of that era is reproduced in the manga's artwork.
How does the fashion in this work differ from historical reality? How does it connect to modern fashion? Together with Masako Hamada, a researcher of American fashion history and former professor at Mukogawa Women's University, let's explore the little-known world of medieval fashion.
Casually Arranged Based on Historical Facts
"Orb: On the Movements of the Earth" is said to be modeled after 15th century Poland. What was the typical fashion in Poland at that time?
Hooded gowns and robe-like long dresses were standard attire. Longer lengths were preferred to protect against the cold.Clothing in this era was most commonly made from wool. However, those of higher social standing or wealth wore velvet or high-quality woven fabrics such as damask.
How were clothes made back then?
Everything was handmade and custom-ordered. Clothing was a very valuable possession, and the average person owned only three or four outfits.While underwear was changed regularly, people would wear the same outerwear for very long periods.
In the first episode, the main character Rafal is introduced as a 12-year-old boy and the adopted son of high-ranking nobility. Could you explain the similarities and differences between his clothing and that of real noble children?
First of all, there were no children’s clothes made specifically for kids in the Middle Ages.
Children basically wore "miniature versions" of adult clothing. So, let's analyze based on adult noble attire.
Among medieval noble garments was the "pourpoint"—padded clothing based on military wear.
This style, with an uncommon front opening in Europe, was said to have come from Asia.
I believe Rafal’s upper-body garment was modeled after the pourpoint.
Real pourpoints often featured shoulder tabs concealing the cords that tied the shoulder to the sleeves, or frills at the collar and cuffs. In the manga, however, these decorations are omitted, and it’s drawn more like a school uniform.
So the outfits are arranged based on historical facts.
Exactly. However, Rafal’s pants differ significantly from actual historical garments.Until about the 16th century, noblemen wore "trunk hose"—soft, puffed short trousers—as a status symbol. In the 17th and 18th centuries, these evolved into "culottes," which were short trousers that fit tightly to the legs.
Underneath the short trousers, nobles wore "hose"—essentially like modern tights. These short trousers would in time become today’s pants, while hose evolved into modern socks.
The way Rafal’s pants balloon up to the thighs is likely inspired by these trunk hose. What’s different, though, is that they’re depicted as long pants in the manga.
Rafal wraps a belt over his clothing. Was this historically accurate?
Yes. Belts at their origin were just cords, used to hang collected plants or tools from. Over time, they became more decorative and functional.During this period, sometimes belts were worn and sometimes not. When not wearing a belt, cords attached to the trousers would be threaded through holes in the jacket and tied, suspending the trousers from the jacket.
This emphasized the waistline and signaled noble appearance and posture.
Commoners Were Prohibited from Wearing Gold or Red Clothing
Next, let’s look at the attire of Nowak, the "heliocentric theory" inquisitor belonging to a monastic order.
Nowak's clothing is very close to historical accuracy in both style and color.
At that time, monastic orders wore robes in colors specific to their order. For example, the Franciscans wore gray, while the Dominicans used white and black.
Given this, it's likely that Nowak's outfit is modeled after "Dominican Inquisitor robes."
Nowak wears a long cloak. What is its purpose?
The cloak was used for warmth and protection from rain. Since it was easy to put on and take off, cloaks were commonly worn.They also denoted social status and were often adorned with the trademark or colors of the organization one belonged to.
When worn, the cloak could be fastened with buttons or hooks, and also with a brooch pin called "fibula," which dates back to ancient times.
The clothes worn under the cloak resemble a woman’s dress.
This is the robe mentioned at the beginning. In those days, it was also a sign of authority, so it was widely worn by men.
Trousers and two-piece outfits, which men often wear today, only became common after commerce flourished.
As people (even high-ranking nobles) increasingly traveled to neighboring towns by horse or donkey for business, the demand for more comfortable clothing grew.
In contrast to Nowak, Oczy, who serves as the assistant and a substitute fighter, wears a two-piece outfit instead of a robe.
Oczy is of relatively lower social status, so instead of a robe of authority, he likely wears a more mobile two-piece outfit.
Compared to the outfits of Nowak and Rafal, Oczy's clothes feature some reddish hues.
In Poland and throughout medieval Europe, there was a "sumptuary law," which forbade extravagance.
Commoners were banned from using materials like silk, as well as noble colors such as gold, silver, and purple.
Red was also forbidden, as obtaining the cochineal dye required large numbers of scale insects, making it expensive.
However, from the 15th century onwards, reddish-brown garments made using iron-based dyes instead of cochineal became affordable.
The vest Oczy wears is close in color to this kind of dyeing, which is likely why it could be worn by someone of lower rank.
Medieval Clothing: The Foundation of Modern Fashion
The monk Badeni seems to be wearing a robe draped with fabric in the front.
This is typical of what members of monastic orders like the Franciscans wore. The strip of cloth draped in front is called a "scapular."
Originally, it was used as an apron during work, but over time it became a symbol of religious devotion and labor.
I'd also like to hear about women's clothing. The story features Jolenta, who appears to be of middle to upper status.
Jolenta, who appears in the story, indeed seems to be of middle or upper class. Let's compare her attire with the social classes of the time.
In this period, upper-class women mainly wore the "houppelande," and the middle class wore the "cote." The houppelande was a luxurious garment that appeared in the late 14th century, originally featuring trailing sleeves, but by the 15th century shifted to a tighter Gothic silhouette.
Jolenta's outfit resembles the "cote," which is much like a modern one-piece dress, suggesting she was closer to the middle class.
Additionally, there is the Draka, a nomadic woman, who also appears in the story.
The nomadic people lived throughout the region from the Middle East to Europe. Due to periods of persecution, their clothing tended to be understated, helping them blend in with the local population.
The cloth wrapped around Draka's neck is called a "neckchief."
It was used to block wind or wipe away sweat, and was an essential item especially for outdoor work. You might say it's similar to a modern-day scarf, Tenugui towel, or even a substitute for a mask.
When you examine the evolution of clothing depicted in the story, the thoroughness of the historical accuracy really stands out. On the other hand, are there creative touches unique to the work as well?
Yes, while the designs are fundamentally faithful to historical fact, there are also creative touches that express each character's individuality.For example, the scarf-like cloth that Draka wears: beyond its practical and cultural necessity, it also plays an important role in expressing her character trait of "telling her story through appearance rather than words about her origin."
It was truly fascinating to learn how the work balances historical veracity and creative expression.
Finally, could you tell us about the influence of medieval European clothing on the modern day?
Medieval European clothing is the origin of contemporary fashion. For instance, the "pourpoint" worn by Rafal is the prototype of the tailored jacket, and the robes from that era can be considered the forerunners of today’s dresses. Separates like two-piece outfits, trousers, and also small accessories such as gloves and hats have all been passed down, evolving into the wardrobes we own today.As you read "Orb: On the Movements of the Earth," I hope you'll also ponder the historical roots of the clothes you wear every day. Learning about the history of fashion is a great first step to enjoying today's styles even more deeply.
Header caption: ©Uoto / Shogakukan
PROFILE
Masako Hamada
Graduated from the Department of History (Western History focus), Faculty of Letters, Kobe University. Completed master's program in Clothing Science, Graduate School of Human Ecology, Mukogawa Women's University. Doctorate in Home Economics. Currently, Chief Research Fellow at the Masaki Morishita Memorial Foundation for Kyoto University Emeriti. Former Professor at Mukogawa Women's University. Member of the Japan PEN Club. Specializes in Western clothing culture history. Researcher of American fashion and social history.
Example: Books
・"改訂版 アメリカ植民地時代の服飾" (2024, Seseragi Publishing) (First edition 1996)
・"黒人奴隷の着装の研究" (2002, Tokyo-do Publishing)
・"アメリカ服飾社会史 重版" (2022, PUBFUN Co.) (First edition 2009, Tokyo-do Publishing)
・"パリ・モードからアメリカン・ルックへ アメリカ服飾社会史 近現代編" (2019, POD Publishing) [Special Jury Award, Nekupabu Award 2022; e-book available on Amazon Kindle]
・"アメリカ服飾史著作集カタログ" (2023, PUBFUN Co.) [e-book available on Amazon Kindle]
Numerous other publications. See researchmap for details.
Example: Translations
・P.F. Copeland, "図説 初期アメリカの職業と仕事着―植民地時代～独立革命期" (2016, Yushokan Publishing), among others. Numerous papers, research reports, and lectures.
Text by Maishiro
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