Studying historical suit according to different books I it explained that first, in the nuances the authors nevertheless disperse. This, if we do not speak about the difference in the names;). But in the second place, illustrators use figures and sculptures of the contemporaries of the described epoch, but they hopeless muddle or sketch much incomprehensibly. In the network it encountered a number of interesting works with the authentic sculptures and the miniatures, but there the authors act tediously and is envelopped frequently only the small historical period. Some pages disappear, without leaving the address of passage, if the same was therefore, after gathering it vinigret from text endurances of different authors, after digging out in network and books of the necessary images and patterns of the different degree of disputableness, I undertook this far still unfinished labor. Can be it and distant from the perfection, but, possibly, precisely here you will find answers to the questions interesting you. If in you are observations or the additions, which improve this hodge-podge, write on the forum.
Generally there is the idea to make a service of the selection of suit to the game: you introduce data (yr/century, class, muzhskoy/zhenskiy), and to you vydetsya collection - chemise/cotte/surcot, etc.))))). Here only I'm not programmer, but the idea to eat, who can it will catch.
 

 
Useful references on the theme:
tgorod.ru - library and the forum, in which sufficiently much information.
langedoc.narod.ru/costumes.htm - history of the European suit OF the XIII century

R.V. Zakharzhevskaya: it is limited to reference, that "the basis of woman's suit into the Middle Ages was the tunic (shirt)"
 
N.M. Kaminskaya of all objects of man's clothing to znati only lower tunic they sewed from the thin flaxen fabric, rest - from the fur, the silk, the brocade, the velvet.
 
R.M. Kirsanova tunic - so is called the woman's and man's clothing, which consists of two it is lump cloth, connected together by the side welds. In the upper part the sections for the hands and the head remain noncross-linked. Tunic - additional, late kroyenaya long white woolen or flaxen lower clothing with the sleeves or without them, that was being rushed by that only belted (since without the belt it were received as linen). In the middle ages it were put on on top to other clothing. Kroyenaya tunic was considered the mode, brought by the barbarians
 

 
Joahn Nann:
GOTKA 1200-1450: Lower clothing consisted of the straight freely garment with the sleeves, initially named of shemiz and become jacket. Its length almost reached to the elbows, there were frequently sections from the middle of hem from the front, also, on the spin. Above the jacket dressed kott. the female jacket, similar to man, but which reached the earth, later it was named shirt.
REVIVAL 1450-1600: Men. the shirt, which they bore directly on the boady, was visible through sections and openings of outer clothing. It cut freely prisbarivali at first on the low cut of neck, and later - to the counter with the small collar or the frill, from which occurred the round corrugated rigid collar. Breast, winch also of the edge of long wide sleeves, also gathered into the sleeve into the middle the XVI century, embroidered by black, dark-blue, red and gold. the luxurious cloths of outer clothing could not be erased, but it was possible to erase the shirts, which sewed from the fabric. they were intended, probably, to the larger degree for the protection of valuable cloths from pollution, but not for the hygienic purposes.
Women. the lower shirt, which was being put on directly to the body, looked in the section of neck, on the wrist or the elbows (from the cut sleeves).
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy):
camise / chemise / camisia - from early medieval to end of 19th century. Undergarment usually of fine linen. the chemise is sometimes known as a smock for a woman and a shirt for a man. Often very voluminous, knee-length usually without trimming. Oblong in shape- shaped like a long, loose tunic. Sleeves vary from long, short and none.
 

M.N. Mertsalova:: "medieval man's and woman's clothing. To 12 c. according to the designation it corresponded to blouse. The length of man kott changed in the course of time - are higher than the elbows entirely short, it is lower than the ankles. Female kott corresponded to contemporary dress."
 
R.V. Zakharzhevskaya (it does not divide tunic and kott): The basis of woman's suit into the Middle Ages was the tunic (shirt) - from the flat and the long the most primitive form (their form it were preserved to the present in the shirts of Slav peoples) to the free, with the wide sleeve (dolmatik), which is put on from above the narrower and longer clothing. This form is characteristic for Byzantium and entire medieval system of European suit to THE XII century, including Russia up to the reforms of Peter I.
Upper tunic girded on the waist and on the thighs and could be, depending on social belonging, it was decorated along neck and ends of the sleeves with embroidry and metallic cover plates.
Belt on the thighs was necessary for the adjoining of suit. To it were attached also the scabbards for the daggers (which rushed by women) and purses.
The heads covered partially according to the laws of the Christian of the religion of girl, and the hair of women hid themselves completely by the system of covers and bandages, which close neck, arms and head simultaneously
 
N.M. Kaminskaya: kott displaces in THE XIII century blio. These are not only the concrete type of clothing, but also concept, is close in the sense to the Russian "dress". Specifically, from this time it solidly will enter into the terminology of suit.
 
Joahn Nann: above the jacket dressed kott: the narrow overalls, which reached the middle of roe or ankle, with the strongly understated waist, frequently decorated with braid on the cut and the hem. The entirety sleeves, wide in the armhole and which are constricted to the wrist (form known now as "bat"), at first they were turned up and were attached, and they were more lately buttoned by buttons. Kott could be borne separately, but it they frequently bore syurko.
Female kott, dressed to the shirt, less wide in the armhole, than man, with the very low cut for the neck in the center, slightly fitted closely to the breast, and then freely descending to the ankles, is free or with the long belt, was called "kertl".
 
Wolfgang Brun max to til'ke: They bore so and other woman's clothing (cotte) - with the sleeves and belt around the thighs, finished gold. Cut for the neck was frequently decorated with ornament along the edge like the belt, and along the sleeve a number of small fastenings went to the elbow.
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy):
cotte Similar to the T shaped tunic dalmatic, but the angled sleeve joins are masked withembroidered bands. When long, it is called the robe.
cote from 13th century. Everyday loose tunic being the main garment of both sexes. A woman's gown- long, close-fitting with long sleeves is usually referred to as a kirtle or kyrtle.
 

M.N. Mertsalova: Man blio was narrow, with the lateral sections and the polukorotkimi sleeves or without the sleeves. Female blio had several forms - type of dalmatiki (Dalmaticca (armor.) - upper narrow clothing with the sleeves with length to the elbows or somewhat below. In West Europe there was rasprostranenna in the epoch of Carolingiens (8 - 9 explosives.): ... stol'niki dressed in dalmatiki like the deacons, who wait with the divine services, but they were only belted... (R.M. Of kirsanova)), long, with the sleeves extended to the bottom, and with the very wide sleeves from the corrugated cloth.
 
R.V. Zakharzhevskaya plainly nothing speaks about of this, in general characteristic part of the suit.
 
N.M. Kaminskaya: deaf additional clothing with the low detachable line of waist. Upper part fits closely along the line of arms, breast, waist, is enlarged to the line of thighs. Lower part is cut out in the form of two polukruzhiy, sewn to the waist of back and shelves. Overall length reaches the line of elbows - middle of roe. Sleeves blio entirety narrow with the funnel-shaped expansion nizkov. Through the lateral sections of lower part the lower tunic, bright and contrasting on the color, is examined. Female blio from man is differed in terms of its length to the floor. Lateral sections were laced by tapes for the encirclement of breast and waist.
 
Joahn Nann information is absent, since about the early middle ages in that book, that there is in i, she does not write.
 
Michel pasturo: This woolen or silk dress with the deep cut, that were being dressed through the head, with the poludlinnymi and very volumetric sleeves, with the wide skirt into the fold with the sections from the front and from behind, that fell to the heels distinguished two forms: usual blio - simple tunic to the middle of roe, and complex, appeared into k.y2 v. and consisted of bodice, wide tape, which accentuated waist, and long skirt with the sections along the sides.
 
Wolfgang Brun and max to til'ke in the descriptions is present "blouse" and its analog of 11 centuries, apparently, which was being been German version blio: "approximately since 1050 notable people begin together with the short blouse to bear the garment, which reaches the middle of roe, with the the vtyazhkoy on the thighs and the folds on the floors."
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy):
bliaus / bliaud / bliaunt / bliaut 12th century. Loose tunic worn by men and women with very wide sleeves.
 

M.N. Mertsalova: the medieval clothing, which dressed above kott. Man surcot was short, female - long. Tsel'nokroyenye dresses, with the sleeves both long and short, and that completely without the sleeves, but with the deep cuts along the sides.
 
R.V. Zakharzhevskaya: Royal dress was supplemented surcot - by upper dress without the sleeves, finished by the hides of ermine (royal mechanical ohm). surcot - clothing, required in the solemn cases (at the outputs, the tournaments); it freely fell from the arms and smoothly it fitted closely to the trunk. surcot could be, also,with the free sleeves, which overhung as two raincoats from both arms. At the end of the XIV century of surcot it will indicate the upper man's clothing, put on to the narrow dress of kotardi. Being the clothing of the privileged persons, surcot was done from the expensive cloths - thin cloth, the brocade, the silk, the velvet.
surcot disappears with the advent of gupelyanda, which will in turn finish its existence in the XVI century
 
N.M. Kaminskaya: In the XIII century appears surcot, cross-linked along the sides, with the deep armholes. surcot rushes above kott, from where occurred term itself.
 
Joahn Nann: Initially this was simple cover to the armors (like the chain armor waistcoat) - the rectangular piece of tkanis opening for the head. the raincoat, which bore the knights above armor, became the part of the usual clothing, which was changed into the tunic for the sleeves, that reached elbows or ankles, in by the armholes, sufficiently wide in order to contain the sleeves of cotte, it could have sections from the front or from behind and rushed both with the belt and without. It is later, apparently, fitted sleeves, and it began to look like dress. Custom to bear one object above another or somewhat simultaneously and unfastened sleeves hamper identefikatsiyu it is specific clothing.
In the XIV century female surcot, is differed from the man: it has the deep cut of neck and wide sections along the sides from the arm to the thigh, through which lower clothing was visible. Rich persons edged cuts mechanical ohm, and on the breast went the low coquette or plastron from the fur, richly decorated, "plakard". Some surcot without the side welds of viseli is free, others tightly fitted closely, but the most splendid were by very long from the front and from behind, and their borne had to raise hem with walking, demonstriruyuya backing from the contrasting cloth or the fur. they bore this clothing from the second-half the XIV century prior to beginning XV v. on the solemn cases to 1525.
 
Wolfgang Brun max to til'ke: men bore two clothing - one above the the durgoy: upper, long and wide (suckenie or suggenie) was without the sleeves, with the cuts for the hands, frequently marginate the mechanical ohm (I think, it is nevertheless borne in mind the German analog of surcot)
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy): 9th to 14th century tunic worn by both sexes, starting as a rectangular piece of fabric having a slit at the top for the head and slits for the sleeves. then becoming the T-tunic which may have had wide sleeves at the wrist. Later, it became more shaped and eventually cut away to become the sideless surcote, then the super-cotehardie.
 

M.N. Mertsalova: "the narrow poluprilegayushchaya clothing with the fastening or without it in the middle front, by narrow sleeves and by the low- located belt. Sleeves are short and are narrow to the elbows or the wrists. It relates to 14 - beginning. 15 explosives."
 
R.V. Zakharzhevskaya: Kotardi - dress of princesses. "... the Tomcat - tunic, or the dress, tightened by lacing on the sides, the back and the breast, until surmise to form tucks and by the fact to pass to the form of dress, which in the Russian terminology was called name dress of princesses, in the terminology of France - kotardi. the sculptural form of dress they followed the sleeve, which slightly were sewn, since the secrets of the cut of armhole were yet opened. Sleeves "easily were ripped off, and young girls bore in their bags of needle with the threads, when they played into the game" with the ripped off sleeves ". This explains the custom of knights during the tournaments to erect to its panel or helmet the sleeve, presented by lady."
In the XIII century of dress they were already so they were tightened, that it was necessary on an example of eastern clothing to sew air loops and to button to the buttons before and the sleeves it was clothing (or as it was said it is above, to lace). In turn this led to the idea of the separation of dress on 2 parts - bodice and skirt, which revealed the new possibilities (XIV century) in the skill of the individualization of suit and enriched the fantasy of the adornment of suit by the selection of fastenings, buttons, by the form of the cut of neck, and skirt - by folds and by assemblings.
 
N.M. Kaminskaya: "in the XIV century for the man's clothing of the adjacent silhouette is characteristic the short covering jacket - kotradi - with the fastening from the front to the buttons and the decorative belt on the thighs. Decorated the part of kotardi were generously sleeves. Narrow above, they were enlarged downward they were bell-shaped and finished by teeth or to nizkam they were sewn the strip of cloth with a length of up to one-and-a-half it was meter, shirnoy - 10 cm."
 
Joahn Nann: In the middle OF the XIV century occurred noticeable change in the man's clothing with the introduction to "kotardi": the poluprelegayushchey outer clothing to the elbows with the buttons from the front, the low cut of neck and the reached elbows insertable sleeves with the lengthening in the form of language it is behind. After 1350 of kotardi they approximately became more be adjacenting (probably, cut along the skew line), and lengthening on the elbows became the long overhanging strips, known in England by the name "tippits", and in France - "kudiyer". these long tapes, which almost reached the earth, frequently overhung from the hand of sleeve fastened to the upper part, and their edge they were cut out by teeth. Kotardi were frequently kombinirovannymi, for example, that consist of two or four many-colored parts or single-tone and polasatoy cloth. With low- on the thighs was located belt with the bag or the purse.
Women in the second-half OF the XIV century bore clothing, more covering figure, with the sleeves as in the the man of kotardi, including "tippits"; frequently having from the front buttons, with the oval cut and the very wide skirts: vidmo, into the side welds added wedges. This detail called both kotardi and surcot. From the front were located two separate sections, the playing role pockets, through which iozhno was reach the purse, visevshiy on the belt, podpoyasyvayushchem to kottu.
the images of this period make it possible to assume that some women bore the bodice, cut like man kotardi, connected on the thighs with the plessirovannoy or raskleshennoy skirt, the decorated belt covered junction. Detail similar to this, frequently was seen under the the upper surcot, that were differing from the man: it had the deep cut of neck and wide sections along the sides.
 
Wolfgang Brun max to til'ke: they generally quiet the theme of kotardi, in spite of splendid illustrations))).
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy): cote-hardie 14th to mid 15th century (men) tight-fitting, knee length tunic buttoned down the front to a low waist. After 1350 shorter sleeves were introduced and the tippet became populer. Tippets and skirts were often dagged, and a belt was always worn at hip level.
cote-hardie 14th to mid 15th century (women) long, tight-fitting gown with long sleeves worn over the kirtle. Very tight around the waist and requiring assistance to dress. Cut low off the shoulders and low neckline, with or without buttons down the front. Fitchets in the skirt were common. No girdle is worn over the top.
 

M.N. Mertsalova: woman's outer clothing, the second-half 15 centuries. It had two cuts - wide, entirety, with the long wide sleeves and detachable on the waist, with the narrow short bodice and the very wide skirt with the train from several wedges of different form. they cut into by festoons. Female upelyan did not have from the front fastenings.
 
R.V. Zakharzhevskaya: Gupelyand - cape to the elbows or to the heels, put on through the head, with the embroidered or smooth standing collar cut out the "sun" and put on through the head, with the raised hands it created the illusion of wide sleeves. Its plane could be, also, with the sections from the arm, to which were sewn the rounded widths of cloth as the free wings, which cover hands. Generally the form of sleeves could be most fabulous - from the cut by teeth wide as wings, to the massive meshkoobraznykh with the vertical cuts for the hands on the middle of the massif of cloth. Gupelyand lined by the hides of small animals, was hemmed by expensive colored backing, was covered with velvet, brocade and cloth. It they bore free and girded, frequently with the stitched folds on the breast and the back.
surcott disappears with the advent of gupelyanda, which will in turn finish its existence in the XVI century.
the women's suits of extraordinary length required the skill to move in them, to be held. Thus it were manufactured gesture to hold in the cam of right hand the part of the hem of upper dress from the front. Long train forced trunk to be slanted back, the stomach coming out forward. the hands, folded on the stomach, caught and held the upper long skirt, under which tied up soft cushions. Together with the complex head bandages, the turbans, the caps these suits of vpechatlyayushchi are unique and, of course, they present well for the artists of scene and cinema.
 
N.M. Kaminskaya at the end XIV surcot is displaced by upelyandom - the upper additional and double clothing of different length, which they bore with the belt and without it.
Long upelyand was characterized by the large width of bottom, which reached to 7 m, and with the width of sleeves below to 3 m.
Of all objects of man's clothing to znati only lower tunic they sewed from the thin flaxen fabric, rest - from the fur, the silk, the brocade, the velvet.
 
Joahn Nann: At the end OF the XIV - beginning OF the XV century of kotardi it ceased to enjoy popularity in young people and fashionable it became to bear "uplend" - the detail with the open front, which descends large folds from the arms, whose length varied from the level of thigh to the floor. them they at first bore hanging freely, but to middle OF the XV century they became pridpavat'im the specific form: the folds, which go from plechaili of breast to the hem, were fixed with belt or were attached from within by ribbons or stitches. the rigid collar, very high from behind, was buttoned to the buttons immediately under the chin or was cut out so that would be visible the neck or the lower clothing from the front. In the course of time the fashion changes.
To upelendu were fastened several types of the sleeve: the outgoing from the usual armhole and expanding to the funnel-shaped socket, almost reaching earth, frequently with the scalloped cuts. Or so the very wide sleeves, which low-overhang from the closed wrist, as if forming the bag, which was ispol'zovat'v the quality of pocket. Or the long wide sleeves, assembled in the collars and packed by incorrect folds on the forearm, with the richly urkashennymi patterns by the elevations, which demonstrate fur backing, into the the kotrouyu it is possible to prosut' hand, after leaving sleeves to viset' freely. Uplend was put on so above the duplicate. In the second-half OF the XIV century long uplendy began to call "mantle".
 
It is undertaken from the foreign site, (url of which I could not restore after the remoteness of infy):
houppelande end of 14th and through 15th century loose outer gown worn by men and women, either shaped or cut on a single slanting line from armhole to hem. Fitted at shoulders. Early forms had high bottle-necked collars. Sleeves were often the bagpipe sleeve or had huge dagged sleeves. there are three distinct styles.
 

R.V. Zakharzhevskaya: Purpuen (gambuaz, or gambizon) - quilted with the rags and the flaxen combings jacket (in our theatrical terminology - duplicate, splits, camisole) with the artificially convex breast, the narrow waist and the narrow sleeves. Purpuen, which tightly covers camp, bent breast and enlarged the arms of its owner, made waist its on- maidenly of thin. In proportion to obuzhivaniya of purpuen was shortened, and this process, as always in any mode, that is moved progressively, it led to the fact that the pants- stockings, dostignuv of maximum length to the middle of thigh, proved to be open. This caused in turn the appearance of "mini" - the short outer clothing (in the Russian language by them there is no designation) - jurnad, houke, jacket, however, not will sin name by their all short huppelande. they carried out the role of outer clothing in pages and heralds and bore function emblematical.
 
N.M. Kaminskaya: In the XIV century of kotardi it is displaced by jacket - the short clothing, tightly tightened on the waist and dispersing by the fan of folds on the thighs. the sleeves of jacket had vsoko raised, prisborennyy okat, what created the straight and high lines of arm - characteristic feature of free- Burgundy mode.
Tapert also tightly tightened on the waist and had the plicated or prisborennuyu lower part. It was dinneye of jacket (to the elbows), it were richly decorated on all edges with teeth, festoons. To the belt, the collar, rukvam, humeral and sleeve seams were fastened campanulas. Section for the head could be both from the front and from behind. At the end of the period in the suit of such type wadded backings into the region of breast and the rollers on the arms were used - for grow prettier landing and the underlining of the masculinity of appearance.
Colet - upper humeral clothing, short, double with the fastening to the buttons or the lacing. Colet fitted closely along the line of breast, waist, thighs, he had detachable to basque and diversely designed neck: with the high standing collar, the deep triangular cut, oval with the insert. Its sleeves were not sewn in in the armhole, but they tied in the individual sections (bottom of armhole, arm, along the sides). This ensured the necessary freedom of motion. Sleeve was cut on the arm and the elbow. In all slots and cuts were produced the cloth of lower shirt, and then the decorative cloth of finishing, forming magnificent bufy.