Introduction: The Maximilian fashion was originally an early 1505 Innsbruck reproduction of the contemporary pleating fashion found in civilian close-fitting jackets (doublets). Ironically, there is no proof that Emperor Maximilian was responsible for its original design. However, it appears that Maximilian did take an active part in the goings-on at his armory.

 In the Der Weisskunig (The White King), there is an engraving by Burgkmair depicting Maximilian I instructing his armorers at his Innsbruck court. Over the next thirty years, the Maximilian fashion was also adopted by the other armor manufacturing centers of Augsburg, Nuremberg,  Landshut and even Italy. As the years progressed, so did the number of flutes. By circa 1510, the Maximilian armor had achieved complete body fluting (less the greaves).

Description:  Constructed with a rounded one-piece skull rising to two boldly roped medial combs fitted at the nape with a broad neck guard of two lames. The bellows visor and bevor attached to the skull on each side by means of common dome-headed pivots (replaced), the visor is stepped beneath  its centrally divided vision slit, pierced with twelve horizontal ventilation slots arranged in three rows, a push-button release for the bevor on the right side. Decorated with a roped bevor and roped neck-lame edges, ventilation slots (six on each side), and a (M) visor push-button release.

Discussion: In Innsbruck, Emperor Maximilian I started an armory from 1504 to 1650. The purpose of the armory was twofold:

(1) To produce exceptional armor for the emperor and his court.

(2) To manufacture munitions-grade armor for Maximilian’s imperial army. Little did he know, at the time, that he was creating the most sought armor by collectors hundreds of years later.

— During the first 35 years of the century, fluted armor evolved (what the Victorians named Maximilian armor). The Maximilian fashion was originally an early 1505 Innsbruck reproduction of the contemporary pleating fashion found in close-fitting civilian jackets (doublets). Early breastplates in this fashion were embossed with only a few decorations (see page 132 in my book).

The term Maximilian is first recorded in a large, two-volume lithographic work by F. Gille and A. Rockstuhl in 1840 in the armor collection in the Mussée de Tzarskoé-sélo ou Collection d’armes (St. Petersburg and Karlsruhe, Russia, 1835–1853). Ironically, there is no proof that Emperor Maximilian was responsible for its original design. However, it appears that Maximilian did take an active part in the goings-on at his armory.

Maximilian armor came to fruition with no period of evolution. It quickly started after the commencement of the Italian Wars , after 200 years of peace. Maximilian armor was so well accepted that it didn’t go out of fashion until 15 years after Maximilian’s death. The genesis of Maximilian armor in both Italy and Germany was the merger of the Italian globose-bellied breastplate fashion and the adaption of fluting by the Italians. Non-fluted armor during this period was most popular outside of Germany.

Maximilian armor is constructed of white steel, but its structural strength is augmented with fluting that also helps deflect the points of blades, spears, and arrows without needing additional metal. The owner’s taste dictated changes to his Maximilian armor. To own a noble’s or knight’s suit of armor in the early 16th century, you had to be exceptionally wealthy. Having a cap-á-pie (full) Maximilian armor custom-made required being measured the same way a custom-tailored suit is measured by a tailor today. The wealthy owner could select many options and garnitures (auxiliary pieces).